Artículos de revistas sobre el tema "Industrialisation – France"

AbstractEschewing a Marxist interpretation of the French Revolution, Jeff Horn’s work is nonetheless interesting in stressing the widespread prevalence of machine-breaking by workers in France as compared to England during industrialisation. Likewise notable is Horn’s argument that the resultant state-intervention forced France onto a path of industrialisation which differed from England’s and which has been underestimated. Breaking with the revisionist consensus, Horn further demonstrates that the effect of the Revolution was positive for French economic development. Refreshing in its stress on working-class militancy, Horn’s work nonetheless exaggerates the influence of machine-breaking on French economic change as compared to other forms of working-class struggle, the slow pace of primitive accumulation and the resistance to industrialisation by small-scale urban producers.

Abstract Money is central to production and the constitutional theory of money has emphasised its fundamentally public foundations, with flows of credit being demand-determined. Using France as a case study, this paper challenges the Law and Development framework by discussing law’s constitutive role in promoting industrialisation via the mobilisation of credit.

Comment dépasser le clivage entre la préservation de la qualité et de la disponibilité de la ressource en eau, et la (ré)industrialisation ? Des pistes peuvent être envisagées au niveau d’un territoire industriel. En construisant une collaboration étroite publique privée à cette échelle, les acteurs du développement économique peuvent construire une vision écosystémique de la gestion de l’eau industrielle et renforcer leur solidarité dans la gestion de cette ressource essentielle aux activités industrielles.

The Upper Saintonge region of western France was one of the primary production centres for the supply of exotic pottery to Britain and northern Europe between the thirteenth and the eighteenth centuries. The principal manufacturing sites were rural workshops in the parishes neighbouring La Chapelle-des-Pots, on the wooded, limestone plateau north east of Saintes and some fifty kilometres down the river Charente from the maritime port of La Rochelle. The expansion of rural industries, producing for extra-regional markets, was a Europe-wide phenomenon between the sixteenth and nineteenth centuries. The theory of proto-industrialisation has been used to explain this process. It has been argued that regionally-dense, rural industries grew up as urban merchants sought cheap production methods to profit from growing overseas demand for manufactured goods, especially textiles and metals. By the later eighteenth or nineteenth centuries, the participation of large numbers of country people in industrial work altered traditional regional demographic and agrarian regimes, resulting in population growth, land-holding fragmentation and the creation of mercantile profit. This provided labour, finance and motive for a ‘second phase’ in the transition from feudal to capitalist economic relations in some regions of Europe and fully-developed industrialisation in others.

AbstractBetween 1815 and 1870, thousands of British artisans emigrated to the continent. Among them, hundreds of lacemakers from the East Midlands went to work in northern France, especially Calais. Thanks to the ‘bobbin-net’ technology, they had a competitive lead. By emigrating, they could sell in French markets without paying duties or smuggling costs. They maintained close connections with the East Midlands, where they bought machinery and cotton thread, hired their workforce, and obtained first-hand information on patterns and techniques. These migrant artisans played a decisive part in boosting continental industrialisation and in creating a unified zone of production in north-western Europe.

India’s vision for Atmanirbhar Bharat adopted in 2020 attempts to make the country and its citizens self-reliant in all aspects. India, being the third largest military spender after the US and China, has also worked towards achieving self-reliance in defence production while maintaining a constant push towards ‘Make in India’. The Indian embassy in Paris has reiterated France’s commitment and complete support to India’s vision of self-reliance in areas of defence industrialisation, joint research, and development in India across a broad spectrum of advanced capabilities. The first part of the article examines the historical background of evolving security relationship between India and France, analysing defence and security cooperation as a principal pillar of their Strategic Partnership. The second part of the article attempts to study the impact of France on India’s military modernisation through the transfer of resources and technology, and through co-development and co-production of equipment. It tracks France’s role in assisting India to reduce dependence on Russia for their military hardware requirements, in its path towards indigenous defence production. The concluding part of the article extrapolates the findings onto the future in order to examine the challenges faced by India in its attempt towards military modernisation. It also seeks to examine challenges in the partnership between the two actors and its impact on France’s role in India’s defence modernisation.

Responses to epidemics and climate change since ancient times, as well as their interpretations, ar e recurrent in times of crisis. Confronted with what may appear to be a series of global crises - health, environmental, economic and even democratic - the ideas on the virtues of what is local and rural are becoming increasingly important. We propose to put this return to locality ‘in historical perspective’. The first part of the paper presents the major events, in France, and explains the major changes in the agricultural world between the 18th and 19th centuries. The second part highlights the aesthetic, artistic, utopian and literary reactions to the ravages of industrialisation in France and England. The third part deals with the integration of nature in the city since the 18th century, and then the nostalgic aspirations for working the land since the 19th century. Finally, in these times of pandemic, we conclude this study on the current movements of degrowth, ecology and return to the local, in favour of food and collective gardens.

Abstract:During the first half of the nineteenth century, the French economy underwent a major technological change, with small and medium-scale entrepreneurs driving the industrialisation by developing and exploiting new technologies. This paper examines the life of one such entrepreneur, Hector Ledru (ca. 1798 to 1876), who started out in the sugar industry of the post Napoleonic era. He soon morphed into an entrepreneur exploiting patents in the manufacture of wooden barrel manufacture, galvanised iron and metal pipes, before he settled on the manufacture and installation of central heating systems. Ledru serves as an example of the archetypical small and later medium-scale entrepreneur making his way in post Napoleonic France, never reaching national fame, but all the way adjusting to the various social and economic circumstances.

Scientific literature in social sciences that deals with nitrate embraces two centuries, whereas very little socio-economic work has addressed other forms of reactive nitrogen. Nitrogen has always had an ambivalent role as both a raw material indispensable for the development of agricultural and a source of negative impacts. This ambivalence has accompanied the social history of livestock production and can explain the conflicting nature of the subject and the moderate environmental efficiency of environmental policies. The legal system is particularly complex. The main cause of territorial pollutions is linked to the industrialisation and spatial concentration of livestock production in France, as in numerous countries in Europe and North America. This conglomeration movement is translated by a concentration of animal manure, which drives to nitrogen balance surplus and associated serious environmental consequences.

In early 1949, Eugéne Claudius-Petit, the new Minister of Reconstruction and Urbanism, had announced a campaign to build 20,000 dwellings a year for forty years, a measure of his determination to shift priorities from post-war reconstruction to the longer-term goals of renovation and modernisation of France's cities. For Claudius-Petit, the State had a duty to offer assistance not just to the sinistrés de la guerre but, as he put it, to the sinistrés de la vie, to the long suffering victims of France's inadequate housing conditions. To do so France had to build more housing and to do so more quickly. Since the Liberation there had been general agreement that the only way to achieve this was to transform the way that housing was built and that ‘industrialisation’ in one form or another was critical to doing so.

Depuis le milieu des années 2010, la vidéo informative en ligne (Brut., Konbini, Culture’, Loopsider, etc.) se développe en France. L’une de ses particularités réside dans la mobilisation systématique du sous-titrage ou du légendage. Production audio-visuelle, la vidéo devrait solliciter, par définition, aussi bien la vue que l’ouïe. Cependant, ce recours au texte questionne la place des formes sonores dans la vidéo en ligne. Cet article étudie alors la construction « audio-scripto-visuelle » de ces contenus. À partir d’une analyse sémio-historique jointe à une analyse de contenu de vidéos en ligne, les résultats montrent que le recours au texte (sous-titrage et légendage) dans ces vidéos provient d’un héritage médiatique ancien (cinéma, radio, télévision). Ce recours au texte montre aussi que le son semble de plus en plus dispensable à la compréhension des contenus. Le format de vidéo en ligne étudié se multiplie et semble se standardiser. Par conséquent, son industrialisation est questionnée au regard des enjeux sonores.

[Feeders of the World. Wet Nurses and Social Reproduction] The article is an attempt to outline the history of wet-nursing on the example of France from the late 18th century until the beginning of the 20th century. The main aim of the article is to highlight the social and economic changes undergone by the profession of wet-nursing. This study explores the process in which increasing industrialisation and urbanisation leads to wet nurses becoming gradually subjected to what Karl Marx described as formal subsumption of labour under capital. Wet-nursing was one of the most important functions contributing to societies’ survival and reproduction, which is why at the turn of the 19th century it was commodified and transformed into one of the most alienated types of labour. These processes were accompanied by a series of changes in the social and cultural perception of wet nurses, notably by the so-called rabble discourse typical for the 19th-century means of racialising working class people.

Résumé L’association entre industrie de la construction et sous-traitance est une évidence à la fin du XIXe siècle, tout comme aujourd’hui. Pourtant l’histoire des mutations du statut du sous-traitant et des formes du travail au forfait dans le bâtiment au début du XXe siècle est encore peu étudiée. Pour aborder cette question, cet article prend pour objet un virement institutionnel majeur dans la définition du « tâcheron » en France : la réforme sur les abus du marchandage dans la seconde moitié des années 1930. Ce dispositif classifie et ordonne les relations entre les acteurs économiques aux intérêts divergents impliqués dans la chaîne de la sous-traitance : maître d’ouvrage, maître d’œuvre, sous-traitant, ouvriers travaillant pour le sous-traitant. Formalisant l’état des lieux de la jurisprudence et détaillant les modalités de la mise en œuvre du marchandage, il permet ainsi de s’interroger sur les caractères marquants d’une forme clé d’organisation du travail de la deuxième industrialisation.

In the early modern period (1500–1800), shipping and trade within Europe were the domain of individual merchants and small companies organised on a temporary basis. Outside Europe, however, new financial and commercial institutions such as permanent joint stock companies came into existence in order to limit the risks. These large institutions played an important role in inter-continental trade and shipping, albeit that their role in Asia differed from that in the Atlantic, where small companies as well as individual merchants remained the dominant form of organisation. In addition, privateers played an important role in the Atlantic economy in times of war while piracy could flourish in those parts of the overseas world where the Iberian trade circuits bordered on those of France, England and the Dutch republic. The conclusion points to the fact that a direct link between the overseas expansion of Europe and its industrialisation might be difficult to construct, but that the creation of long distance trading companies created the institutional environment that must have facilitated Europe's rapid economic growth after the middle of the eighteenth century.

The stated theme lies at the intersection of two areas of research, namely the industrial revolution in France and the history of contemporary Parisian suburbs. Methodologically, it is a multidisciplinary study combining economic history, social anthropology and historical geography. In terms of sources, it is dominated by local history. The author explores three interrelated aspects of the topic: industrialisation, urbanization, and multiculturalism. The typology of the Parisian suburbs as a socio-historical phenomenon, drawn from many years of observation, is focused on Aubervilliers, an economically developed commune with a predominantly impoverished immigrant population in the Seine-Saint-Denis department, known for its left-wing influence, Islamic groups and youth crime. The case of Aubervilliers shows the belated nature of the industrial revolution in France, its protracted character aggravated by the shortage of labour and minerals, which led to the intensive use of immigration and raw materials of “animal origin”. The progressive transformation of the old rural burg into an industrial city reveals the sustainability of rural-urban symbiosis as a feature of the country's development after the eighteenth century revolution. The author emphasises the importance of the link to Paris and the metropolitan authorities' policy of removing harmful industries and the working population from the city in the formation of industrial suburbs. In the integrity of the formation of industrial suburbs the author reveals the particularities of the urban economy and habitat, characterises the working and living conditions of workers, notes the formation of immigrant neighbourhoods and the specific features of the integration of different immigrant communities into French society.

In this paper my intention is to discuss the diversity of rural landscapes, still detectable in spite of two centuries and more of industrialisation, and to point to the roots of this diversity, in a time when local differences in habitat were bonded to contrasts in culture, economy and society. The stimulus, perhaps even the courage, to write this essay came from reading Braudel's The Identity of France: History and Environment, for his joyous exploration of that country generates an awareness of the need for a deep sense of place as a foundation for understanding rural history. For me one key to this is seen in figure 1, a new map of settlement in England and Wales in the middle years of the last century, a product of my work on rural settlements. Everitt, using the case of Kent as a basis for an evaluation of the use of landscapes as a historical source, has emphasised the importance of countrysides in understanding the evolution of the landscapes of field, forest, heath, fell, fen, marsh, down and wald (Everitt, 1986: 6–13, 338–40; for wald see Everitt, 1986: passim and Ekwall, 1970: 491–2). Figure 1 is one measure of the diversity and a source of this discussion.

Après la deuxième guerre mondiale, il y a eu une grande crise de logement dans l’Europe. Plusieurs réponses ont été proposées à travers les chartes des CIAM qui voyaient l’avenir de la construction du logement de masse dans la standardisation et l’utilisation de nouveaux matériaux ainsi que des techniques et procédés de construction industrialisés à l’image de l'industrie de préfabrication. Le développement durable, ainsi que la réduction de la consommation énergétique n’étaient de loin leurs premières préoccupations. Dans les années 90, les préoccupations énergétiques faisaient partie des problèmes de la qualité du bâtiment à soulever dans la conception architecturale. Cependant, les solutions proposées étaient la plus part du temps isolées et purement techniques. C’est toujours une vision industrielle pour résoudre un problème architectural. En parallèle, dans les années cinquante, Fernand Pouillon, arrive avec de nouvelles idées et une nouvelle vision pour l’avenir de la construction du logement de masse tout en se préoccupant de l’environnement bâti et de la durabilité du matériau. Sa méthode de conception du logement était en avance par rapport à son temps. Il a développé un processus de conception basé sur une industrialisation des procédés de construction par élément simple au lieu d’une préfabrication lourde du logement. A travers l’analyse de la cité d’habitations Climat de France de Fernand Pouillon en Algérie, on essayera de montrer sa vision moderne de l’avenir du logement et la présence des préoccupations énergétiques dans son approche conceptuelle.

The indicator of specific (per capita) electricity consumption (SEC) is stabilising in developed countries and increasing in developing economies. At least since the mid-2000s, the difference between the two groups of countries in terms of available power has been decreasing. In contrast to this trend, the transition of Russia to a market economy is characterised by the divergence of regions in terms of SEC. SEC of regions, being on average similar to that of the Netherlands, France, Germany, Great Britain, began to differ by 20 times. The technocenosis theory shows the need to change this negative trend. The low electricity consumption of developing countries depends on their inability to increase its production. In Russia, the problem is due to the low potential of the consumption sector, primarily in regions with SEC below 4 MWh/person per year. The solution of this macroeconomic problem, namely, the reduction of the existing differentiation in regional specific electricity consumption will help maintain the structural stability of the Russian economy and ensure its functioning in the context of external environment changes. Creation of conditions for the energy consumption development in industrial and agricultural enterprises is not a sectoral task of the electric power industry. Considering the sanctions imposed on Russia, structural stability of the national economy can be increased by improving the investment climate resulting from a decline in electricity prices for new non-residential consumers in regions with SEC below the level of developing countries. For these subsidy depending “outsider” regions, an increase in the availability of electricity, rather than the construction of new energy facilities, stimulates the labour productivity growth, re-industrialisation, and emergence of growth points.

The article investigates the characteristic features of legal socialism as one of the popular directions of French political and legal thought during the period of existence of the French Third Republic (1870–1940). For the fi rst time in the Russian science the similarities and differences of French legal socialism with the related political and ideological systems (Marxism, solidarism) and also with some foreign legal doctrines (legal socialism of Anton Menger von Wolfensgrün, Ferdinand Lassalle) are highlighted. The article focuses on the political and legal views of Emmanuel Levy, a prominent French jurist and socialist, who, according to many contemporaries, was the founder of legal socialism in France. On the basis of the analysis of literary sources of the epoch as well as modern publications, the author of the article evaluates Emmanuel Lévy’s contribution to the substantiation of socialism in legal categories (legal description of the logic of socialism). To achieve this goal, the author of the article considers Lévy’s ideas about the relative nature of law, about class antagonism as a factor of social life, about the absorption of individual law by collective law, about the triumph of collective law as the fi nal chord of the historical epoch of industrialisation, about the understanding of law as a social function and about the expansion of the boundaries of legal responsibility. Lévy’s ideas about the parameters of a peaceful and non-violent social revolution, the realization of which was linked to the growing infl uence of socialistically thinking judges in the French judicial hierarchy, were also studied. Responding to the social markings of the epoch and the demands of public opinion, these judges were to promote the establishment of a socialist legal order in the state by means of free interpretation of bourgeois laws (in the interests of poor classes).

AbstractFrom 1816 lithographic businesses began to develop in Western Europe. Use was made of a printing technique, lithography - based on the repellent working of water and fat - which was catching on especially in Germany and France. The Low Countries remained behind: early in 1818 only small lithographic printing offices were to be found in Brussels, Amsterdam and Rotterdam. At about that time the Frenchman MJ.V. Duval de Mercourt, calling himself an architect, presented himself in the Netherlands. Stimulated by the Dutch envoy at the court of Paris, Baron Fagel, he requested King William I to be permitted to found lithographical offices in The Hague and Brussels and to call himself Royal Lithographer. This was permitted by Royal Decree of 16 July 1818. Added to it was, highly unusually, that the establishment of Duval was greeted with approval, and that the hope was expressed that he might succeed in his attempts. The background of all this was the industrialisation policy that was pursued more in particular by the king himself. Indeed, Duval set about his business with great expectations and fervour. Probably he officially opened a - for Dutch standards - large lithographic printing office which consisted of at least two presses, which he called the Lithographie Royale'. He focused in particular on government commissions and especially on making autographs of written documents which up to that time had to be copied by hand. This technique, where writing was done with fat ink on prepared paper, after which the text was transferred to the stone and printed, seemed a godsend indeed. This autographic technique also had the king's interest: for, would it not be possible to introduce it and subsequently discharge clerks at the ministries? The future seemed to favour Duval, but alas, reality was different. It appeared that government as well as private institutions would provide him with hardly any work, possibly because of his high prices. It is also remarkable that some ministries did not want to have anything to do with this new printing method. After half a year he was already threatened with financial downfall, also through a loss he had personally suffered and the downward turn of the Dutch economy. The king then intervened with a number of measures in favour of Duval, of which the most important was that he was allowed to work for the Ministry of Water Management. An attempt was also made to accommodate him at the Algemeene Landsdrukkerij in The Hague, a government printing office with a monopoly on all government printed matter. The directors, however, confirmed letterpress printers, did not believe in this new printing technique which, according to them, could have no future because it would always be more expensive than their own beautiful printing. Because the locations of the ministries were changing between The Hague and Brussels about every half year, Duval was forced to follow the Ministry of Water Management to Brussels and to found a lithographic printing office there as well. Although he was supplied with more work there, he appeared to be at the end of his tether half way through 1819 due to a lack of financial resources. His financial situation was such that he was even refused a government advance because it was feared that he would not be able to reimburse it. Thereafter he was forced to make a disadvantageous contract with a private person, after which he left for The Hague, a destitute man. Although work from the Ministry of Water Management was also given to him there, things continued to go downhill for him. He now also lost his premises in The Hague so that he could no longer accept commissions. True, some time later a new place was found, but he had to agree that his co-worker, D. Abrahams, was to be appointed as his partner. Halfway through 1820 there arrived at last a reply to the many petitons and pleas he had sent to the king. This was, however, negative, because it was feared that a financial contribution from the government might slow down the downfall of his enterprise, but would not prevent it. Even damages were not granted because he was supposed to have given a false impression of things. He then left first to go to Brussels and later on to France, leaving his lithographic printing office in The Hague to Abrahams. The latter succeeded in getting the enterprise off to a good start within a few years, notably by making lithographs and trading in lithographs and sheet music, the main aim of the business. From about 1823 the number of commissions for lithographs increased, with a marked improvement in the quality of his work. This resulted in an honourable mention in the second industry exhibition held in the Netherlands in the summer of 1825. During this exhibition he was appointed first lithographer at the Algemeene Landsdrukkerij! This was because the king had intervened anew in the field of lithography and persevered against the advice of his minister in having an autographic printing office there, an office that was to be closed in 1832 due to lack of work and with great losses. The Lithographic Royale subsequently stopped its activities after Abrahams had received a compensation in his salary for it. Finally, the lithographic activities in The Hague were continued by his brother, A.M. Abrahams, on a modest scale.

<p><strong>Abstract.</strong> An important phenomenon in cartography in the 19th Century is the emergence of thematic cartography and especially distribution maps. The latter represent the spatial distribution of a particular feature in an area. Distribution maps may be qualitative such as those representing the land use or land cover, geological maps, … or also quantitative, such as maps representing the population distribution by dots or isolines.</p><p> Even if in the 18th C. (or even earlier), some thematic maps were drawn, the real development of the thematic mapping only started in the 19th C. In cartographic literature, large attention was paid to the cholera map of Snow from 1854. It has often been cited (also in geographical information science) as an example of early spatial analysis; what he visually did is today a well-known technique and methodology of buffer analysis in GIS. But the most impressive thematic maps are the early 19th C. chronostratigraphical maps, mostly described as geological maps. This type of inventory maps - important till the end of the 20th C. &amp;ndash; are now completely substituted by digital data.</p><p> If the development of thematical maps was an answer on one hand to industrialisation and changing ideas about the concept of richness, it was on the other hand also only made possible by the development of new printing techniques. Belgium was a forerunner in realizing geological maps. Already in the Dutch period (1815&amp;ndash;1830) systematic field observations were executed in the southern part of Belgium. In this period a map was realized representing ore deposits (“<i>Geologische kaart van een gedeelte der Nederlanden</i>”), under the direction of J.E. Van Gorkum, with scientific input by professor Van Breda; the map was published in the Netherlands in 1834, after Belgian independency.</p><p> The map is also interesting from another point of view as it is representing the triangulation network the Dutch established in Belgium before 1830 in the framework of the Military Reconnaissance. They were part of a systematic mapping project under supervision of the Topographical Bureau with a section responsible for the Northern provinces and one for the Southern provinces, which realized those Military Reconnaissance maps. Captain Erzey executed a triangulation over the southern provinces. Later on, those coordinates served Vander Maelen to realize his 1&amp;thinsp;:&amp;thinsp;20&amp;thinsp;000 and 1&amp;thinsp;:&amp;thinsp;80&amp;thinsp;000 topographical mapping of Belgium.</p><p> On the one hand, the awareness that a new and a more precise surveying and cartography was needed and on the other hand that inventories of different thematic data were needed, must be seen not only in the context of industrialization but also in the change of the role of landownership in the society through the ages.</p><p> In the Middle Ages and the Renaissance, the landownership was a synonym for richness. The land-owners (abbeys, noblemen, …) could collect taxes based on this ownership (the so-called taxation paradigm). In the 19th Century, land also became a good that could be traded. The trading land also induced a need for a stricter legal framework. In France, typically Napoleon erected not only the Cadastre Law to partition the tax collection more fairly but he also mentioned “<i>Un bon cadastre parcellaire sera le complément de mon code en ce qui concerne la possession du sol. Il faut que les plans soient assez exacts et assez développés pour servir à fixer les limites des propriétés et empêcher les procès.</i>” (“<i>A good land cadastre will be the complement of my code regarding the ownership of the soil. Maps must be accurate enough and developed enough to set property boundaries and prevent lawsuits</i>”) (Letter of Napoleon to his Minister of Finance Mollien). This period when land also became a negotiable good fits in a so-called legal paradigm.</p><p> The land registry reform affecting the whole French Empire cannot be seen separately from the reform Napoleon wished to set up for his topographical maps. Napoleon established a commission that had to define the cartographic system of a new topographic map covering the French Empire. Even if the ellipsoid of Delambre and the Bonne projection were retained, the map production could never be launched. The measurements of Captain Erzey in the Dutch period can be considered as the first attempt (in Belgium) to map the territory on a geodetically correct basis.</p><p> During one and a half century the negotiable aspect of land was predominant. Map making was requiring the best available geometric accuracy. The needs of map making changed fundamentally when land also became scarcer, when it became a scarce good. The increasing need for planning in the second part of the 20th C. for the sake of land scarcity finally induced &amp;ndash; when techniques (in particular GIS) would allow it - the development of multi-purpose spatial data systems.</p></p>

Abstract‘Provincializing Europe’, derived from Dipesh Chakrabarty's work of that name, argued that an imagined ‘Europe’ was a founding myth for modernity. While not mentioning feminism, this analysis is a valuable starting point for tracing the path of the term ‘féminism’ from France to Britain to the Ottoman Empire and from the USA to the Arab world – in the contexts of each venue. This article provides a firm basis for comparing the advancement of women in the West and the Middle East. Some factors were similar, such as the influence of religious gender values, others differed, such as industrialisation.

Introduction : Selon des études réalisées jusqu’à 2014, la Côte d’Ivoire ne couvrait que 8% des besoins nationaux en médicaments. Plusieurs études ont fait des propositions afin d’améliorer le niveau de production pharmaceutique en Côte d’Ivoire Notre étude avait pour but de mettre en évidence le niveau de développement pharmaceutique industriel en Côte d’Ivoire Méthodologie : Pour ce faire, nous avons fait dans un premier temps une enquête documentaire des textes et lois qui régissent le secteur pharmaceutique. Ensuite, à travers un questionnaire, nous avons mené une enquête de terrain par interview directe en vue d’identifier les types de production, les équipements, les services et aspects fiscaux, marketing et ressources humaines et financières. Ces paramètres nous ont permis de faire une analyse comparative aux travaux antérieurs afin d’apprécier le niveau de cette industrialisation pharmaceutique locale. Résultats : Le marché pharmaceutique est pourvoyeur de plus de 130 Milliards de Francs CFA, mais les parts des IPL demeurent en dessous des 10%. La Côte d’Ivoire ne dispose que 8 IPL actives et ce nombre ne permet pas aux produits locaux de l’emporter face aux produits importés ; La Côte d’Ivoire ne dispose pas d’une politique de développement spécifique et bien définie de l’industrie pharmaceutique ainsi les charges fiscales, la préférence nationale, le soutien de l’Etat dans le financement des IPL sont autant d’aspects qui sont des obstacles à l’essor de ce secteur. Conclusion : Cette étude nous permis de noter des avancées. Cependant, des efforts restent à faire dans ce secteur qui a besoin d’une réforme afin de lui permette de jouir pleinement de son marché.

In an interview, which was originally published in 1975 in Dialectiques, French philosopher Luce Irigaray was asked about her claim that there is a ‘feminine’ style of writing which can be traced in language. She replied that women’s discourse needed to be listened for outside of the readymade grids that we have already inherited, that a new way of listening and understanding language was needed: In other words, the issue is not one of elaborating a new theory of which women would be the subject or the object, but of jamming the theoretical machinery itself, of suspending its pretension to the production of a truth and of a meaning that are excessively univocal. Which presupposes that women do not aspire simply to be men’s equals in knowledge. (Irigaray 78) She goes on to suggest that a female writing, or écriture féminine, is a style marked by disruptive excess, which goes off, as she does, in all directions, which is reminiscent of female sexuality, a style that ‘resists and explodes every firmly established form, figure, idea or concept’ (79). While écriture féminine was part of the feminist debates of the 1980s, this was also a style in which Irigaray wrote and was deeply appealing to me in the early 1990s as a doctoral student. I was bravely reading ‘French’ theory, French feminist theory, in a remote regional university in tropical Queensland in the far north of Australia, in the humidity and the sweat and the saltwater. I read by the university swimming pool, so add chlorine to that. Reading French feminist theory in the tropics was like greasing the machinery, gearing my brain into some intellectual engagement that counteracted the lethargy of the body in heat. Jamming the machinery has remained an appealing phrase partially because of its disruptive tenancy but also because of a pervasive image that never ceases to haunt me: of jam all over the machinery. The machine I imagine being jammed is a printing press, a massive machine that generates words, texts, theory. It’s a dirty black metal giant. The jam is strawberry: pink and glassy with bits of pieces held in suspension amid the transparent spread, remnants of another organic lifetime. The stickiness of the jam on the cold steal is appealing, and the idea of food bringing down a machine is somehow deeply satisfying. In the end, the quotidian rules; everyday domesticity overwhelms modernist industrialisation. Jam in the machinery shifts the focus from the noisy, dirty, gruesome conditions of the workers who risk catching a digit or an arm in the conveyer and being dragged along after it, to a more subversive agent: jam. If the former imagines the soft flesh of corporeality gobbled up by the greedy capitalist machine in a struggle for control, then the latter values the fleshy red substance that insinuates itself between the mettle of work culture. On reflection, though, the machinery of my imagination is archaic, industrial, modernist. Printing presses are the stuff of museums now that there is digital technology. It is actually difficult to insert jam between binaries, somewhere between the keyboard and the printer, the zeros and ones. Irigaray’s metaphoric jam comes into its own with digitisation, so that its tempting literal image is wiped clean (deleted) in favour of a radical metaphoricity that comes into jamming the theoretical machinery itself, the machinations of capitalism, consumerism, patriarchy and colonisation. Only last week I was teaching students about culture jamming, about consumers-as-producers and citizen-journalists as the tools of production multiply and become affordable, and desirable. There’s no need to make jam, when jam is a verb. Neither subject nor object, jam escapes the grammatical grids and oozes over the side of language. But the effectiveness of the verb is haunted by its affect as noun. It’s slippery, jam, and delicious. On toast on a rainy day. Toast and marmalade for tea, sailing ships upon the sea. ‘It’s comfort food’, says the domestic goddess, and we believe her while we’re sweating under the fans, going to the little radiator-toaster to warm our bread. Buying jam at school fetes and markets reminds us of a time when there was ‘time’. It’s an excess of domesticity, a gift of bottled loving kindness. It is reading French feminists in the tropics: slippery, delicious, a bit of a treat. And sticky. The machinery Irigaray refers to in the heyday of theory is the very stuff of representation, writing, knowledge and univocal truths. It is the upstanding and unbending patriarchal academy, embodied in the voice of the male professor pronouncing and professing, or the psychoanalyst seeing himself re/produced in theory. To stage his downfall, Irigaray performs a more slippery trick, a counter-strategy sourced in the bodies of women: l’écriture féminine. Writing is produced through the lived experience of being socially positioned as (among other things) women, so those effects will be inscribed in what is written, she argues. Writing as a woman, rather than through the narrative machinery of patriarchy, is a style: a disruption to conventional reading and representational practices that resists the steely authority of linearity and logic arguing instead from subjective and historical specificity. It’s the jam of theory, having to locate yourself in your writing. Which is all very well, as a young white woman in Australia imagining philosophy in France (I buy croissants and brew coffee and play Grace Jones when I’m writing). In Vicennes at the Ecole Freudienne de Paris, though, Irigaray is spectacularly ejected after her second doctoral dissertation, Speculum of the Other Woman. She rejects the theories of the Father, upsets the dominance of the phallus in psychoanalysis, in writing. She wipes jam all over herself, over their texts. And Jacques Lacan is not amused. She jammed up that opportunity, but made others. Irigaray prefers to idolise fluids rather than firmness, movement from one slippery form to another in writing and in theory: strawberry to jam, jam to machinery, woman to theory. Dreaming of making such a rebellious impact in the shimmering hot world around me, I take up Irigaray’s call to arms and write myself into my text, proliferating voices and lips, sexualities and discursive grids. But how excessive can a girl be writing a PhD? Playing around the edges, opening up gaps and pockets for extracurricular discourse, and modelling narrative on doubleness if not duplicity rather than phallic univocality takes a lot of energy. It gets sticky. The weather, the thesis, the whole jam thing. I’m in a pickle when I want to be in a jam. Sticky strawberry jam, like the blossoming mouths of prickly roses rimmed with glossed lips, like the voices of feminism in the 1980s. In Western Australia where I now live, the acacia trees blossom twice a year, in autumn and spring. There’s an abundant species called Acacia acuminata that’s known as ‘raspberry jam’ because of the smell when the wood is freshly cut. Qué? References Luce Irigaray. This Sex Which Is Not One. Trans. Catherine Porter with Carolyn Burke. Ithaca: Cornell UP, 1985. Citation reference for this article MLA Style Bartlett, Alison. "‘Irigaray Makes Jam’." M/C Journal 9.6 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0612/07-bartlett.php>. APA Style Bartlett, A. (Dec. 2006) "‘Irigaray Makes Jam’," M/C Journal, 9(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0612/07-bartlett.php>.

‘Bitzer,’ said Thomas Gradgrind. ‘Your definition of a horse.’‘Quadruped. Graminivorous. Forty teeth, namely twenty-four grinders, four eye-teeth, and twelve incisive. Sheds coat in the spring; in marshy countries, sheds hoofs, too. Hoofs hard, but requiring to be shod with iron. Age known by marks in mouth.’ Thus (and much more) Bitzer.‘Now girl number twenty,’ said Mr. Gradgrind. ‘You know what a horse is.’— Charles Dickens, Hard Times (1854)Dickens’s famous pedant, Thomas Gradgrind, was not an anomaly. He is the pedagogical manifestation of the rise of quantification in modernism that was the necessary adjunct to massive urbanisation and industrialisation. His classroom caricatures the dominant epistemic modality of modern global democracies, our unwavering trust in numbers, “data”, and reproductive predictability. This brief quotation from Hard Times both presents and parodies the 19th century’s displacement of what were previously more commonly living and heterogeneous existential encounters with events and things. The world had not yet been made predictably repetitive through industrialisation, standardisation, law, and ubiquitous codes of construction. Theirs was much more a world of unique events and not the homogenised and orthodox iteration of standardised knowledge. Horses and, by extension, all entities and events gradually were displaced by their rote definitions: individuals of a so-called natural kind were reduced to identicals. Further, these mechanical standardisations were and still are underwritten by mapping them into a numerical and extensive characterisation. On top of standardised objects and procedures appeared assigned numerical equivalents which lent standardisation the seemingly apodictic certainty of deductive demonstrations. The algebraic becomes the socially enforced criterion for the previously more sensory, qualitative, and experiential encounters with becoming that were more likely in pre-industrial life. Here too, we see that the function of this reproductive protocol is not just notational but is the sine qua non for, in Althusser’s famous phrase, the manufacture of citizens as “subject subjects”, those concrete individuals who are educated to understand themselves ideologically in an imaginary relation with their real position in any society’s self-reproduction. Here, however, ideology performs that operation through that nominally least political of cognitive modes, the supposed friend of classical Marxism’s social science, the mathematical. The historical onset of this social and political reproductive hegemony, this uniform supplanting of time’s ineluctable differencing with the parasite of its associated model, can partial be found in the formation of metrics. Before the 19th century, the measures of space and time were local. Units of length and weight varied not just between nations but often by municipality. These parochial standards reflected indigenous traditions, actualities, personalities, and needs. This variation in measurement standards suggested that every exchange or judgment of kind and value relied upon the specificity of that instance. Every evaluation of an instance required perceptual acuity and not the banality of enumeration constituted by commodification and the accounting practices intrinsic to centralised governance. This variability in measure was complicated by similar variability in the currencies of the day. Thus, barter presented the participants with complexities and engagements of skills and discrete observation completely alien to the modern purchase of duplicate consumer objects with stable currencies. Almost nothing of life was iterative: every exchange was, more or less, an anomaly. However, in 1790, immediately following the French Revolution and as a central manifestation of its movement to rational democratisation, Charles Maurice de Talleyrand proposed a metrical system to the French National Assembly. The units of this metric system, based originally on observable features of nature, are now formally codified in all scientific practice by seven physical constants. Further, they are ubiquitous now in almost all public exchanges between individuals, corporations, and states. These units form a coherent and extensible structure whose elements and rules are subject to seemingly lossless symbolic exchange in a mathematic coherence aided by their conformity to decimal representation. From 1960, their basic contemporary form was established as the International System of Units (SI). Since then, all but three of the countries of the world (Myanmar, Liberia, and the United States), regardless of political organisation and individual history, have adopted these standards for commerce and general measurement. The uniformity and rational advantage of this system is easily demonstrable in just the absurd variation in the numeric bases of the Imperial / British system which uses base 16 for ounces/pounds, base 12 for inches/feet, base three for feet/yards, base 180 for degrees between freezing and cooling, 43,560 square feet per acre, eights for division of inches, etc. Even with its abiding antagonism to the French, Britain officially adopted the metric system as was required by its admission to the EU in 1973. The United States is the last great holdout in the public use of the metric system even though SI has long been the standard wanted by the federal government. At first, the move toward U.S. adoption was promising. Following France and rejecting England’s practice, America was founded on a decimal currency system in 1792. In 1793, Jefferson requested a copy of the standard kilogram from France in a first attempt to move to the metric system: however, the ship carrying the copy was captured by pirates. Indeed, The Metric Conversion Act of 1975 expressed a more serious national intention to adopt SI, but after some abortive efforts, the nation fell back into the more archaic measurements dominant since before its revolution. However, the central point remains that while the U.S. is unique in its public measurement standard among dominant powers, it is equally committed to the hegemonic application of a numerical rendition of events.The massive importance of this underlying uniformity is that it supplies the central global mechanism whereby the world’s chaotic variation is continuously parsed and supplanted into comparable, intelligible, and predictable units that understand individuating difference as anomaly. Difference, then, is understood in this method not as qualitative and intensive, which it necessarily is, but quantitative and extensive. Like Gradgrind’s “horse”, the living and unique thing is rendered through the Apollonian dream of standardisation and enumeration. While differencing is the only inherent quality of time’s chaotic flow, accounting and management requite iteration. To order the reproduction of modern society, the unique individuating differences that render an object as “this one”, what the Medieval logicians called haecceities, are only seen as “accidental” and “non-essential” deviations. This is not just odd but illogical since these very differences allow events to be individuated items so to appear as countable at all. As Leibniz’s principle, the indiscernibility of identicals, suggests, the application of the metrical same to different occasions is inherently paradoxical: if each unit were truly the same, there could only be one. As the etymology of “anomaly” suggests, it is that which is unexpected, irregular, out of line, or, going back to the Greek, nomos, at variance with the law. However, as the only “law” that always is at hand is the so-called “Second Law of Thermodynamics”, the inconsistently consistent roiling of entropy, the evident theoretical question might be, “how is anomaly possible when regularity itself is impossible?” The answer lies not in events “themselves” but exactly in the deductive valorisations projected by that most durable invention of the French Revolution adumbrated above, the metric system. This seemingly innocuous system has formed the reproductive and iterative bias of modern post-industrial perceptual homogenisation. Metrical modeling allows – indeed, requires – that one mistake the metrical changeling for the experiential event it replaces. Gilles Deleuze, that most powerful French metaphysician (1925-1995) offers some theories to understand the seminal production (not reproduction) of disparity that is intrinsic to time and to distinguish it from its homogenised representation. For him, and his sometime co-author, Felix Guattari, time’s “chaosmosis” is the host constantly parasitised by its symbolic model. This problem, however, of standardisation in the face of time’s originality, is obscured by its very ubiquity; we must first denaturalise the seemingly self-evident metrical concept of countable and uniform units.A central disagreement in ancient Greece was between the proponents of physis (often translated as “nature” but etymologically indicative of growth and becoming, process and not fixed form) and nomos (law or custom). This is one of the first ethical and so political debates in Western philosophy. For Heraclitus and other pre-Socratics, the emphatic character of nature was change, its differencing dynamism, its processual but not iterative character. In anticipation of Hume, Sophists disparaged nomos (νόμος) as simply the habituated application of synthetic law and custom to the fluidity of natural phenomena. The historical winners of this debate, Plato and the scientific attitudes of regularity and taxonomy characteristic of his best pupil, Aristotle, have dominated ever since, but not without opponents.In the modern era, anti-enlightenment figures such as Hamann, Herder, and the Schlegel brothers gave theoretical voice to romanticism’s repudiation of the paradoxical impulses of the democratic state for regulation and uniformity that Talleyrand’s “revolutionary” metrical proposal personified. They saw the correlationalism (as adumbrated by Meillassoux) between thought and thing based upon their hypothetical equitability as a betrayal of the dynamic physis that experience presented. Variable infinity might come either from the character of God or nature or, as famously in Spinoza’s Ethics, both (“deus sive natura”). In any case, the plenum of nature was never iterative. This rejection of metrical regularity finds its synoptic expression in Nietzsche. As a classicist, Nietzsche supplies the bridge between the pre-Socratics and the “post-structuralists”. His early mobilisation of the Apollonian, the dream of regularity embodied in the sun god, and the Dionysian, the drunken but inarticulate inexpression of the universe’s changing manifold, gives voice to a new resistance to the already dominate metrical system. His is a new spin of the mythic representatives of Nomos and physis. For him, this pair, however, are not – as they are often mischaracterised – in dialectical dialogue. To place them into the thesis / antithesis formulation would be to give them the very binary character that they cannot share and to, tacitly, place both under Apollo’s procedure of analysis. Their modalities are not antithetical but mutually exclusive. To represent the chaotic and non-iterative processes of becoming, of physis, under the rubric of a common metrics, nomos, is to mistake the parasite for the host. In its structural hubris, the ideological placebo of metrical knowing thinks it non-reductively captures the multiplicity it only interpellates. In short, the polyvalent, fluid, and inductive phenomena that empiricists try to render are, in their intrinsic character, unavailable to deductive method except, first, under the reductive equivalence (the Gradgrind pedagogy) of metrical modeling. This incompatibility of physis and nomos was made manifest by David Hume in A Treatise of Human Nature (1739-40) just before the cooptation of the 18th century’s democratic revolutions by “representative” governments. There, Hume displays the Apollonian dream’s inability to accurately and non-reductively capture a phenomenon in the wild, free from the stringent requirements of synthetic reproduction. His argument in Book I is succinct.Now as we call every thing custom, which proceeds from a past repetition, without any new reasoning or conclusion, we may establish it as a certain truth, that all the belief, which follows upon any present impression, is deriv'd solely from that origin. (Part 3, Section 8)There is nothing in any object, consider'd in itself, which can afford us a reason for drawing a conclusion beyond it; ... even after the observation of the frequent or constant conjunction of objects, we have no reason to draw any inference concerning any object beyond those of which we have had experience. (Part 3, Section 12)The rest of mankind ... are nothing but a bundle or collection of different perceptions, which succeed each other with an inconceivable rapidity, and are in a perpetual flux and movement. (Part 4, Section 6)In sum, then, nomos is nothing but habit, a Pavlovian response codified into a symbolic representation and, pragmatically, into a reproductive protocol specifically ordered to exclude anomaly, the inherent chaotic variation that is the hallmark of physis. The Apollonian dream that there can be an adequate metric of unrestricted natural phenomena in their full, open, turbulent, and manifold becoming is just that, a dream. Order, not chaos, is the anomaly. Of course, Kant felt he had overcome this unacceptable challenge to rational application to induction after Hume woke him from his “dogmatic slumber”. But what is perhaps one of the most important assertions of the critiques may be only an evasion of Hume’s radical empiricism: “there are only two ways we can account for the necessary agreement of experience with the concepts of its objects: either experience makes these concepts possible or these concepts make experience possible. The former supposition does not hold of the categories (nor of pure sensible intuition) ... . There remains ... only the second—a system ... of the epigenesis of pure reason” (B167). Unless “necessary agreement” means the dictatorial and unrelenting insistence in a symbolic model of perception of the equivalence of concept and appearance, this assertion appears circular. This “reading” of Kant’s evasion of the very Humean crux, the necessary inequivalence of a metric or concept to the metered or defined, is manifest in Nietzsche.In his early “On Truth and Lies in a Nonmoral Sense” (1873), Nietzsche suggests that there is no possible equivalence between a concept and its objects, or, to use Frege’s vocabulary, between sense or reference. We speak of a "snake" [see “horse” in Dickens]: this designation touches only upon its ability to twist itself and could therefore also fit a worm. What arbitrary differentiations! What one-sided preferences, first for this, then for that property of a thing! The various languages placed side by side show that with words it is never a question of truth, never a question of adequate expression; otherwise, there would not be so many languages. The "thing in itself" (which is precisely what the pure truth, apart from any of its consequences, would be) is likewise something quite incomprehensible to the creator of language and something not in the least worth striving for. This creator only designates the relations of things to men, and for expressing these relations he lays hold of the boldest metaphors.The literal is always already a reductive—as opposed to literature’s sometimes expansive agency—metaphorisation of events as “one of those” (a token of “its” type). The “necessary” equivalence in nomos is uncovered but demanded. The same is reproduced by the habitual projection of certain “essential qualities” at the expense of all those others residing in every experiential multiplicity. Only in this prison of nomos can anomaly appear: otherwise all experience would appear as it is, anomalous. With this paradoxical metaphor of the straight and equal, Nietzsche inverts the paradigm of scientific expression. He reveals as a repressive social and political obligation the symbolic assertion homology where actually none can be. Supposed equality and measurement all transpire within an Apollonian “dream within a dream”. The concept captures not the manifold of chaotic experience but supplies its placebo instead by an analytic tautology worthy of Gradgrind. The equivalence of event and definition is always nothing but a symbolic iteration. Such nominal equivalence is nothing more than shifting events into a symbolic frame where they can be commodified, owned, and controlled in pursuit of that tertiary equivalence which has become the primary repressive modality of modern societies: money. This article has attempted, with absurd rapidity, to hint why some ubiquitous concepts, which are generally considered self-evident and philosophically unassailable, are open not only to metaphysical, political, and ethical challenge, but are existentially unjustified. All this was done to defend the smaller thesis that the concept of anomaly is itself a reflection of a global misrepresentation of the chaos of becoming. This global substitution expresses a conservative model and measure of the world in the place of the world’s intrinsic heterogenesis, a misrepresentation convenient for those who control the representational powers of governance. In conclusion, let us look, again too briefly, at a philosopher who neither accepts this normative world picture of regularity nor surrenders to Nietzschean irony, Gilles Deleuze.Throughout his career, Deleuze uses the word “pure” with senses antithetical to so-called common sense and, even more, Kant. In its traditional concept, pure means an entity or substance whose essence is not mixed or adulterated with any other substance or material, uncontaminated by physical pollution, clean and immaculate. The pure is that which is itself itself. To insure intelligibility, that which is elemental, alphabetic, must be what it is itself and no other. This discrete character forms the necessary, if often tacit, precondition to any analysis and decomposition of beings into their delimited “parts” that are subject to measurement and measured disaggregation. Any entity available for structural decomposition, then, must be pictured as constituted exhaustively by extensive ones, measurable units, its metrically available components. Dualism having established as its primary axiomatic hypothesis the separability of extension and thought must now overcome that very separation with an adequacy, a one to one correspondence, between a supposedly neatly measurable world and ideological hegemony that presents itself as rational governance. Thus, what is needed is not only a purity of substance but a matching purity of reason, and it is this clarification of thought, then, which, as indicated above, is the central concern of Kant’s influential and grand opus, The Critique of Pure Reason.Deleuze heard a repressed alternative to the purity of the measured self-same and equivalent that, as he said about Plato, “rumbled” under the metaphysics of analysis. This was the dark tradition he teased out of the Stoics, Ockham, Gregory of Rimini, Nicholas d’Autrecourt, Spinoza, Meinong, Bergson, Nietzsche, and McLuhan. This is not the purity of identity, A = A, of metrical uniformity and its shadow, anomaly. Rather than repressing, Deleuze revels in the perverse purity of differencing, difference constituted by becoming without the Apollonian imposition of normalcy or definitional identity. One cannot say “difference in itself” because its ontology, its genesis, is not that of anything itself but exactly the impossibility of such a manner of constitution: universal anomaly. No thing or idea can be iterative, separate, or discrete.In his Difference and Repetition, the idea of the purely same is undone: the Ding an sich is a paradox. While the dogmatic image of thought portrays the possibility of the purely self-same, Deleuze never does. His notions of individuation without individuals, of modulation without models, of simulacra without originals, always finds a reflection in his attitudes toward, not language as logical structure, but what necessarily forms the differential making of events, the heterogenesis of ontological symptoms. His theory has none of the categories of Pierce’s triadic construction: not the arbitrary of symbols, the “self-representation” of icons, or even the causal relation of indices. His “signs” are symptoms: the non-representational consequences of the forces that are concurrently producing them. Events, then, are the symptoms of the heterogenetic forces that produce, not reproduce them. To measure them is to export them into a representational modality that is ontologically inapplicable as they are not themselves themselves but the consequences of the ongoing differences of their genesis. Thus, the temperature associated with a fever is neither the body nor the disease.Every event, then, is a diaphora, the pure consequent of the multiplicity of the forces it cannot resemble, an original dynamic anomaly without standard. This term, diaphora, appears at the conclusion of that dialogue some consider Plato’s best, the Theaetetus. There we find perhaps the most important discussion of knowledge in Western metaphysics, which in its final moments attempts to understand how knowledge can be “True Judgement with an Account” (201d-210a). Following this idea leads to a theory, usually known as the “Dream of Socrates”, which posits two kinds of existents, complexes and simples, and proposes that “an account” means “an account of the complexes that analyses them into their simple components … the primary elements (prôta stoikheia)” of which we and everything else are composed (201e2). This—it will be noticed—suggests the ancient heritage of Kant’s own attempted purification of mereological (part/whole relations) nested elementals. He attempts the coordination of pure speculative reason to pure practical reason and, thus, attempts to supply the root of measurement and scientific regularity. However, as adumbrated by the Platonic dialogue, the attempted decompositions, speculative and pragmatic, lead to an impasse, an aporia, as the rational is based upon a correspondence and not the self-synthesis of the diaphorae by their own dynamic disequilibrium. Thus the dialogue ends inconclusively; Socrates rejects the solution, which is the problem itself, and leaves to meet his accusers and quaff his hemlock. The proposal in this article is that the diaphorae are all that exists in Deleuze’s world and indeed any world, including ours. Nor is this production decomposable into pure measured and defined elementals, as such decomposition is indeed exactly opposite what differential production is doing. For Deleuze, what exists is disparate conjunction. But in intensive conjunction the same cannot be the same except in so far as it differs. The diaphorae of events are irremediably asymmetric to their inputs: the actual does not resemble the virtual matrix that is its cause. Indeed, any recourse to those supposedly disaggregate inputs, the supposedly intelligible constituents of the measured image, will always but repeat the problematic of metrical representation at another remove. This is not, however, the traditional postmodern trap of infinite meta-shifting, as the diaphoric always is in each instance the very presentation that is sought. Heterogenesis can never be undone, but it can be affirmed. In a heterogenetic monism, what was the insoluble problem of correspondence in dualism is now its paradoxical solution: the problematic per se. What manifests in becoming is not, nor can be, an object or thought as separate or even separable, measured in units of the self-same. Dogmatic thought habitually translates intensity, the differential medium of chaosmosis, into the nominally same or similar so as to suit the Apollonian illusions of “correlational adequacy”. However, as the measured cannot be other than a calculation’s placebo, the correlation is but the shadow of a shadow. Every diaphora is an event born of an active conjunction of differential forces that give rise to this, their product, an interference pattern. Whatever we know and are is not the correlation of pure entities and thoughts subject to measured analysis but the confused and chaotic confluence of the specific, material, aleatory, differential, and unrepresentable forces under which we subsist not as ourselves but as the always changing product of our milieu. In short, only anomaly without a nominal becomes, and we should view any assertion that maps experience into the “objective” modality of the same, self-evident, and normal as a political prestidigitation motivated, not by “truth”, but by established political interest. ReferencesDella Volpe, Galvano. Logic as a Positive Science. London: NLB, 1980.Deleuze, Gilles. Difference and Repetition. Trans. Paul Patton. New York: Columbia UP, 1994.———. The Logic of Sense. Trans. Mark Lester. New York: Columbia UP, 1990.Guenon, René. The Reign of Quantity. New York: Penguin, 1972.Hawley, K. "Identity and Indiscernibility." Mind 118 (2009): 101-9.Hume, David. A Treatise of Human Nature. Oxford: Clarendon, 2014.Kant, Immanuel. Critique of Pure Reason. Trans. Norman Kemp Smith. London: Palgrave Macmillan, 1929.Meillassoux, Quentin. After Finitude: An Essay on the Necessity of Contingency. Trans. Ray Brassier. New York: Continuum, 2008.Naddaf, Gerard. The Greek Concept of Nature. Albany: SUNY, 2005. Nietzsche, Friedrich. The Birth of Tragedy. Trans. Douglas Smith. Oxford: Oxford UP, 2008.———. “On Truth and Lies in a Nonmoral Sense.” Trans. Walter Kaufmann. The Portable Nietzsche. New York: Viking, 1976.Welch, Kathleen Ethel. "Keywords from Classical Rhetoric: The Example of Physis." Rhetoric Society Quarterly 17.2 (1987): 193–204.

Introduction Ireland did not have a tradition of printed cookbooks prior to the 20th century. As a consequence, Irish culinary manuscripts from before this period are an important primary source for historians. This paper makes the case that the manuscripts are a unique way of accessing voices that have quotidian concerns seldom heard above the dominant narratives of conquest, colonisation and famine (Higgins; Dawson). Three manuscripts are examined to see how they contribute to an understanding of Irish social and culinary history. The Irish banking crisis of 2008 is a reminder that comments such as the one in the title of this paper may be more then a casual remark, indicating rather an underlying anxiety. Equally important is the evidence in the manuscripts that Ireland had a domestic culinary tradition sited within the culinary traditions of the British Isles. The terms “vernacular”, representing localised needs and traditions, and “polite”, representing stylistic features incorporated for aesthetic reasons, are more usually applied in the architectural world. As terms, they reflect in a politically neutral way the culinary divide witnessed in the manuscripts under discussion here. Two of the three manuscripts are anonymous, but all are written from the perspective of a well-provisioned house. The class background is elite and as such these manuscripts are not representative of the vernacular, which in culinary terms is likely to be a tradition recorded orally (Gold). The first manuscript (NLI, Tervoe) and second manuscript (NLI, Limerick) show the levels of impact of French culinary influence through their recipes for “cullis”. The Limerick manuscript also opens the discussion to wider social concerns. The third manuscript (NLI, Baker) is unusual in that the author, Mrs. Baker, goes to great lengths to record the provenance of the recipes and as such the collection affords a glimpse into the private “polite” world of the landed gentry in Ireland with its multiplicity of familial and societal connections. Cookbooks and Cuisine in Ireland in the 19th Century During the course of the 18th century, there were 136 new cookery book titles and 287 reprints published in Britain (Lehmann, Housewife 383). From the start of the 18th to the end of the 19th century only three cookbooks of Irish, or Anglo-Irish, authorship have been identified. The Lady’s Companion: or Accomplish’d Director In the whole Art of Cookery was published in 1767 by John Mitchell in Skinner-Row, under the pseudonym “Ceres,” while the Countess of Caledon’s Cheap Receipts and Hints on Cookery: Collected for Distribution Amongst the Irish Peasantry was printed in Armagh by J. M. Watters for private circulation in 1847. The modern sounding Dinners at Home, published in London in 1878 under the pseudonym “Short”, appears to be of Irish authorship, a review in The Irish Times describing it as being written by a “Dublin lady”, the inference being that she was known to the reviewer (Farmer). English Copyright Law was extended to Ireland in July 1801 after the Act of Union between Great Britain and Ireland in 1800 (Ferguson). Prior to this, many titles were pirated in Ireland, a cause of confusion alluded to by Lehmann when she comments regarding the Ceres book that it “does not appear to be simply a Dublin-printed edition of an English book” (Housewife 403). This attribution is based on the dedication in the preface: “To The Ladies of Dublin.” From her statement that she had a “great deal of experience in business of this kind”, one may conclude that Ceres had worked as a housekeeper or cook. Cheap Receipts and Hints on Cookery was the second of two books by Catherine Alexander, Countess of Caledon. While many commentators were offering advice to Irish people on how to alleviate their poverty, in Friendly Advice to Irish Mothers on Training their Children, Alexander was unusual in addressing her book specifically to its intended audience (Bourke). In this cookbook, the tone is of a practical didactic nature, the philosophy that of enablement. Given the paucity of printed material, manuscripts provide the main primary source regarding the existence of an indigenous culinary tradition. Attitudes regarding this tradition lie along the spectrum exemplified by the comments of an Irish journalist, Kevin Myers, and an eminent Irish historian, Louis Cullen. Myers describes Irish cuisine as a “travesty” and claims that the cuisine of “Old Ireland, in texture and in flavour, generally resembles the cinders after the suttee of a very large, but not very tasty widow”, Cullen makes the case that Irish cuisine is “one of the most interesting culinary traditions in Europe” (141). It is not proposed to investigate the ideological standpoints behind the various comments on Irish food. Indeed, the use of the term “Irish” in this context is fraught with difficulty and it should be noted that in the three manuscripts proposed here, the cuisine is that of the gentry class and representative of a particular stratum of society more accurately described as belonging to the Anglo-Irish tradition. It is also questionable how the authors of the three manuscripts discussed would have described themselves in terms of nationality. The anxiety surrounding this issue of identity is abating as scholarship has moved from viewing the cultural artifacts and buildings inherited from this class, not as symbols of an alien heritage, but rather as part of the narrative of a complex country (Rees). The antagonistic attitude towards this heritage could be seen as reaching its apogee in the late 1950s when the then Government minister, Kevin Boland, greeted the decision to demolish a row of Georgian houses in Dublin with jubilation, saying that they stood for everything that he despised, and describing the Georgian Society, who had campaigned for their preservation, as “the preserve of the idle rich and belted earls” (Foster 160). Mac Con Iomaire notes that there has been no comprehensive study of the history of Irish food, and the implications this has for opinions held, drawing attention to the lack of recognition that a “parallel Anglo-Irish cuisine existed among the Protestant elite” (43). To this must be added the observation that Myrtle Allen, the doyenne of the Irish culinary world, made when she observed that while we have an Irish identity in food, “we belong to a geographical and culinary group with Wales, England, and Scotland as all counties share their traditions with their next door neighbour” (1983). Three Irish Culinary Manuscripts The three manuscripts discussed here are held in the National Library of Ireland (NLI). The manuscript known as Tervoe has 402 folio pages with a 22-page index. The National Library purchased the manuscript at auction in December 2011. Although unattributed, it is believed to come from Tervoe House in County Limerick (O’Daly). Built in 1776 by Colonel W.T. Monsell (b.1754), the Monsell family lived there until 1951 (see, Fig. 1). The house was demolished in 1953 (Bence-Jones). William Monsell, 1st Lord Emly (1812–94) could be described as the most distinguished of the family. Raised in an atmosphere of devotion to the Union (with Great Britain), loyalty to the Church of Ireland, and adherence to the Tory Party, he converted in 1850 to the Roman Catholic religion, under the influence of Cardinal Newman and the Oxford Movement, changing his political allegiance from Tory to Whig. It is believed that this change took place as a result of the events surrounding the Great Irish Famine of 1845–50 (Potter). The Tervoe manuscript is catalogued as 18th century, and as the house was built in the last quarter of the century, it would be reasonable to surmise that its conception coincided with that period. It is a handsome volume with original green vellum binding, which has been conserved. Fig. 1. Tervoe House, home of the Monsell family. In terms of culinary prowess, the scope of the Tervoe manuscript is extensive. For the purpose of this discussion, one recipe is of particular interest. The recipe, To make a Cullis for Flesh Soups, instructs the reader to take the fat off four pounds of the best beef, roast the beef, pound it to a paste with crusts of bread and the carcasses of partridges or other fowl “that you have by you” (NLI, Tervoe). This mixture should then be moistened with best gravy, and strong broth, and seasoned with pepper, thyme, cloves, and lemon, then sieved for use with the soup. In 1747 Hannah Glasse published The Art of Cookery, Made Plain and Easy. The 1983 facsimile edition explains the term “cullis” as an Anglicisation of the French word coulis, “a preparation for thickening soups and stews” (182). The coulis was one of the essential components of the nouvelle cuisine of the 18th century. This movement sought to separate itself from “the conspicuous consumption of profusion” to one where the impression created was one of refinement and elegance (Lehmann, Housewife 210). Reactions in England to this French culinary innovation were strong, if not strident. Glasse derides French “tricks”, along with French cooks, and the coulis was singled out for particular opprobrium. In reality, Glasse bestrides both sides of the divide by giving the much-hated recipe and commenting on it. She provides another example of this in her recipe for The French Way of Dressing Partridges to which she adds the comment: “this dish I do not recommend; for I think it an odd jumble of thrash, by that time the Cullis, the Essence of Ham, and all other Ingredients are reckoned, the Partridges will come to a fine penny; but such Receipts as this, is what you have in most Books of Cookery yet printed” (53). When Daniel Defoe in The Complete English Tradesman of 1726 criticised French tradesmen for spending so much on the facades of their shops that they were unable to offer their customers a varied stock within, we can see the antipathy spilling over into other creative fields (Craske). As a critical strategy, it is not dissimilar to Glasse when she comments “now compute the expense, and see if this dish cannot be dressed full as well without this expense” at the end of a recipe for the supposedly despised Cullis for all Sorts of Ragoo (53). Food had become part of the defining image of Britain as an aggressively Protestant culture in opposition to Catholic France (Lehmann Politics 75). The author of the Tervoe manuscript makes no comment about the dish other than “A Cullis is a mixture of things, strained off.” This is in marked contrast to the second manuscript (NLI, Limerick). The author of this anonymous manuscript, from which the title of this paper is taken, is considerably perplexed by the term cullis, despite the manuscript dating 1811 (Fig. 2). Of Limerick provenance also, but considerably more modest in binding and scope, the manuscript was added to for twenty years, entries terminating around 1831. The recipe for Beef Stake (sic) Pie is an exact transcription of a recipe in John Simpson’s A Complete System of Cookery, published in 1806, and reads Cut some beef steaks thin, butter a pan (or as Lord Buckingham’s cook, from whom these rects are taken, calls it a soutis pan, ? [sic] (what does he mean, is it a saucepan) [sic] sprinkle the pan with pepper and salt, shallots thyme and parsley, put the beef steaks in and the pan on the fire for a few minutes then put them to cool, when quite cold put them in the fire, scrape all the herbs in over the fire and ornament as you please, it will take an hour and half, when done take the top off and put in some coulis (what is that?) [sic]. Fig. 2. Beef Stake Pie (NLI, Limerick). Courtesy of the National Library of Ireland. Simpson was cook to Lord Buckingham for at least a year in 1796, and may indeed have travelled to Ireland with the Duke who had several connections there. A feature of this manuscript are the number of Cholera remedies that it contains, including the “Rect for the cholera sent by Dr Shanfer from Warsaw to the Brussels Government”. Cholera had reached Germany by 1830, and England by 1831. By March 1832, it had struck Belfast and Dublin, the following month being noted in Cork, in the south of the country. Lasting a year, the epidemic claimed 50,000 lives in Ireland (Fenning). On 29 April 1832, the diarist Amhlaoibh Ó Súilleabháin notes, “we had a meeting today to keep the cholera from Callan. May God help us” (De Bhaldraithe 132). By 18 June, the cholera is “wrecking destruction in Ennis, Limerick and Tullamore” (135) and on 26 November, “Seed being sown. The end of the month wet and windy. The cholera came to Callan at the beginning of the month. Twenty people went down with it and it left the town then” (139). This situation was obviously of great concern and this is registered in the manuscript. Another concern is that highlighted by the recommendation that “this receipt is as good as the bank. It has been obligingly given to Mrs Hawkesworth by the chief book keeper at the Bank of Ireland” (NLI, Limerick). The Bank of Ireland commenced business at St. Mary’s Abbey in Dublin in June 1783, having been established under the protection of the Irish Parliament as a chartered rather then a central bank. As such, it supplied a currency of solidity. The charter establishing the bank, however, contained a prohibitory clause preventing (until 1824 when it was repealed) more then six persons forming themselves into a company to carry on the business of banking. This led to the formation, especially outside Dublin, of many “small private banks whose failure was the cause of immense wretchedness to all classes of the population” (Gilbert 19). The collapse that caused the most distress was that of the Ffrench bank in 1814, founded eleven years previously by the family of Lord Ffrench, one of the leading Catholic peers, based in Connacht in the west of Ireland. The bank issued notes in exchange for Bank of Ireland notes. Loans from Irish banks were in the form of paper money which were essentially printed promises to pay the amount stated and these notes were used in ordinary transactions. So great was the confidence in the Ffrench bank that their notes were held by the public in preference to Bank of Ireland notes, most particularly in Connacht. On 27 June 1814, there was a run on the bank leading to collapse. The devastation spread through society, from business through tenant farmers to the great estates, and notably so in Galway. Lord Ffrench shot himself in despair (Tennison). Williams and Finn, founded in Kilkenny in 1805, entered bankruptcy proceedings in 1816, and the last private bank outside Dublin, Delacours in Mallow, failed in 1835 (Barrow). The issue of bank failure is commented on by writers of the period, notably so in Dickens, Thackery, and Gaskill, and Edgeworth in Ireland. Following on the Ffrench collapse, notes from the Bank of Ireland were accorded increased respect, reflected in the comment in this recipe. The receipt in question is one for making White Currant Wine, with the unusual addition of a slice of bacon suspended from the bunghole when the wine is turned, for the purpose of enriching it. The recipe was provided to “Mrs Hawkesworth by the chief book keeper of the bank” (NLI, Limerick). In 1812, a John Hawkesworth, agent to Lord CastleCoote, was living at Forest Lodge, Mountrath, County Laois (Ennis Chronicle). The Coote family, although settling in County Laois in the seventeenth century, had strong connections with Limerick through a descendent of the younger brother of the first Earl of Mountrath (Landed Estates). The last manuscript for discussion is the manuscript book of Mrs Abraham Whyte Baker of Ballytobin House, County Kilkenny, 1810 (NLI, Baker). Ballytobin, or more correctly Ballaghtobin, is a townland in the barony of Kells, four miles from the previously mentioned Callan. The land was confiscated from the Tobin family during the Cromwellian campaign in Ireland of 1649–52, and was reputedly purchased by a Captain Baker, to establish what became the estate of Ballaghtobin (Fig. 3) To this day, it is a functioning estate, remaining in the family, twice passing down through the female line. In its heyday, there were two acres of walled gardens from which the house would have drawn for its own provisions (Ballaghtobin). Fig. 3. Ballaghtobin 2013. At the time of writing the manuscript, Mrs. Sophia Baker was widowed and living at Ballaghtobin with her son and daughter-in-law, Charity who was “no beauty, but tall, slight” (Herbert 414). On the succession of her husband to the estate, Charity became mistress of Ballaghtobin, leaving Sophia with time on what were her obviously very capable hands (Nevin). Sophia Baker was the daughter of Sir John Blunden of Castle Blunden and Lucinda Cuffe, daughter of the first Baron Desart. Sophia was also first cousin of the diarist Dorothea Herbert, whose mother was Lucinda’s sister, Martha. Sophia Baker and Dorothea Herbert have left for posterity a record of life in the landed gentry class in rural Georgian Ireland, Dorothea describing Mrs. Baker as “full of life and spirits” (Herbert 70). Their close relationship allows the two manuscripts to converse with each other in a unique way. Mrs. Baker’s detailing of the provenance of her recipes goes beyond the norm, so that what she has left us is not just a remarkable work of culinary history but also a palimpsest of her family and social circle. Among the people she references are: “my grandmother”; Dorothea Beresford, half sister to the Earl of Tyrone, who lived in the nearby Curraghmore House; Lady Tyrone; and Aunt Howth, the sister of Dorothea Beresford, married to William St Lawrence, Lord Howth, and described by Johnathan Swift as “his blue eyed nymph” (195). Other attributions include Lady Anne Fitzgerald, wife of Maurice Fitzgerald, 16th knight of Kerry, Sir William Parsons, Major Labilen, and a Mrs. Beaufort (Fig. 4). Fig. 4. Mrs. Beauforts Rect. (NLI, Baker). Courtesy of the National Library of Ireland. That this Mrs. Beaufort was the wife of Daniel Augustus Beaufort, mother of the hydrographer Sir Francis Beaufort, may be deduced from the succeeding recipe supplied by a Mrs. Waller. Mrs. Beaufort’s maiden name was Waller. Fanny Beaufort, the elder sister of Sir Francis, was Richard Edgeworth’s fourth wife and close friend and confidante of his daughter Maria, the novelist. There are also entries for “Miss Herbert” and “Aunt Herbert.” While the Baker manuscript is of interest for the fact that it intersects the worlds of the novelist Maria Edgeworth and the diarist Dorothea Herbert, and for the societal references that it documents, it is also a fine collection of recipes that date back to the mid-18th century. An example of this is a recipe for Sligo pickled salmon that Mrs. Baker, nee Blunden, refers to in an index that she gives to a second volume. Unfortunately this second volume is not known to be extant. This recipe features in a Blunden family manuscript of 1760 as referred to in Anelecta Hibernica (McLysaght). The recipe has also appeared in Cookery and Cures of Old Kilkenny (St. Canices’s 24). Unlike the Tervoe and Limerick manuscripts, Mrs. Baker is unconcerned with recipes for “cullis”. Conclusion The three manuscripts that have been examined here are from the period before the famine of 1845–50, known as An Gorta Mór, translated as “the big hunger”. The famine preceding this, Bliain an Áir (the year of carnage) in 1740–1 was caused by extremely cold and rainy weather that wiped out the harvest (Ó Gráda 15). This earlier famine, almost forgotten today, was more severe than the subsequent one, causing the death of an eight of the population of the island over one and a half years (McBride). These manuscripts are written in living memory of both events. Within the world that they inhabit, it may appear there is little said about hunger or social conditions beyond the walls of their estates. Subjected to closer analysis, however, it is evident that they are loquacious in their own unique way, and make an important contribution to the narrative of cookbooks. Through the three manuscripts discussed here, we find evidence of the culinary hegemony of France and how practitioners in Ireland commented on this in comparatively neutral fashion. An awareness of cholera and bank collapses have been communicated in a singular fashion, while a conversation between diarist and culinary networker has allowed a glimpse into the world of the landed gentry in Ireland during the Georgian period. References Allen, M. “Statement by Myrtle Allen at the opening of Ballymaloe Cookery School.” 14 Nov. 1983. Ballaghtobin. “The Grounds”. nd. 13 Mar. 2013. ‹http://www.ballaghtobin.com/gardens.html›. Barrow, G.L. “Some Dublin Private Banks.” Dublin Historical Record 25.2 (1972): 38–53. Bence-Jones, M. A Guide to Irish Country Houses. London: Constable, 1988. Bourke, A. Ed. Field Day Anthology of Irish Writing Vol V. Cork: Cork UP, 2002. Craske, M. “Design and the Competitive Spirit in Early and Mid 18th Century England”, Journal of Design History 12.3 (1999): 187–216. Cullen, L. The Emergence of Modern Ireland. London: Batsford, 1981. Dawson, Graham. “Trauma, Memory, Politics. The Irish Troubles.” Trauma: Life Stories of Survivors. Ed. Kim Lacy Rogers, Selma Leydesdorff and Graham Dawson. New Jersey: Transaction P, 2004. De Bhaldraithe,T. Ed. Cín Lae Amhlaoibh. Cork: Mercier P, 1979. Ennis Chronicle. 12–23 Feb 1812. 10 Feb. 2013 ‹http://astheywere.blogspot.ie/2012/12/ennis-chronicle-1812-feb-23-feb-12.html› Farmar, A. E-mail correspondence between Farmar and Dr M. Mac Con Iomaire, 26 Jan. 2011. Fenning, H. “The Cholera Epidemic in Ireland 1832–3: Priests, Ministers, Doctors”. Archivium Hibernicum 57 (2003): 77–125. Ferguson, F. “The Industrialisation of Irish Book Production 1790-1900.” The Oxford History of the Irish Book, Vol. IV The Irish Book in English 1800-1891. Ed. J. Murphy. Oxford: Oxford UP, 2011. Foster, R.F. Luck and the Irish: A Brief History of Change from 1970. Oxford: Oxford UP, 2008. Gilbert, James William. The History of Banking in Ireland. London: Longman, Rees, Orme, Brown, Green, and Longman, 1836. Glasse, Hannah. The Art of Cookery Made Plain and Easy by a Lady: Facsimile Edition. Devon: Prospect, 1983. Gold, C. Danish Cookbooks. Seattle: U of Washington P, 2007. Herbert, D. Retrospections of an Outcast or the Life of Dorothea Herbert. London: Gerald Howe, 1929. Higgins, Michael D. “Remarks by President Michael D. Higgins reflecting on the Gorta Mór: the Great famine of Ireland.” Famine Commemoration, Boston, 12 May 2012. 18 Feb. 2013 ‹http://www.president.ie/speeches/ › Landed Estates Database, National University of Galway, Moore Institute for Research, 10 Feb. 2013 ‹http://landedestates.nuigalway.ie/LandedEstates/jsp/family-show.jsp?id=633.› Lehmann, G. The British Housewife: Cookery books, cooking and society in eighteenth-century Britain. Totnes: Prospect, 1993. ---. “Politics in the Kitchen.” 18th Century Life 23.2 (1999): 71–83. Mac Con Iomaire, M. “The Emergence, Development and Influence of French Haute Cuisine on Public Dining in Dublin Restaurants 1900-2000: An Oral History”. Vol. 2. PhD thesis. Dublin Institute of Technology. 2009. 8 Mar. 2013 ‹http://arrow.dit.ie/tourdoc/12›. McBride, Ian. Eighteenth Century Ireland: The Isle of Slaves. Dublin: Gill and Macmillan, 2009. McLysaght, E.A. Anelecta Hibernica 15. Dublin: Irish Manuscripts Commission, 1944. Myers, K. “Dinner is served ... But in Our Culinary Dessert it may be Korean.” The Irish Independent 30 Jun. 2006. Nevin, M. “A County Kilkenny Georgian Household Notebook.” Journal of the Royal Society of Antiquaries of Ireland 109 (1979): 5–18. (NLI) National Library of Ireland. Baker. 19th century manuscript. MS 34,952. ---. Limerick. 19th century manuscript. MS 42,105. ---. Tervoe. 18th century manuscript. MS 42,134. Ó Gráda, C. Famine: A Short History. New Jersey: Princeton UP, 2009. O’Daly, C. E-mail correspondence between Colette O’Daly, Assistant Keeper, Dept. of Manuscripts, National Library of Ireland and Dorothy Cashman. 8 Dec. 2011. Potter, M. William Monsell of Tervoe 1812-1894. Dublin: Irish Academic P, 2009. Rees, Catherine. “Irish Anxiety, Identity and Narrative in the Plays of McDonagh and Jones.” Redefinitions of Irish Identity: A Postnationalist Approach. Eds. Irene Gilsenan Nordin and Carmen Zamorano Llena. Bern: Peter Lang, 2010. St. Canice’s. Cookery and Cures of Old Kilkenny. Kilkenny: Boethius P, 1983. Swift, J. The Works of the Rev Dr J Swift Vol. XIX Dublin: Faulkner, 1772. 8 Feb. 2013. ‹http://www.google.ie/search?tbm=bks&hl=en&q=works+of+jonathan+swift+Vol+XIX+&btnG=› Tennison, C.M. “The Old Dublin Bankers.” Journal of the Cork Historical and Archeological Society 1.2 (1895): 36–9.

Introduction The decline of marriage in the West has been extensively researched over the last three decades (Carmichael and Whittaker; de Vaus; Coontz; Beck-Gernshein). Indeed, it was fears that the institution would be further eroded by the legalisation of same sex unions internationally that provided the impetus for the Australian government to amend the Marriage Act (1961). These amendments in 2004 sought to strengthen marriage by explicitly defining, for the first time, marriage as a legal partnership between one man and one woman. The subsequent heated debates over the discriminatory nature of this definition have been illuminating, particularly in the way they have highlighted the ongoing social significance of marriage, even at a time it is seen to be in decline. Demographic research about partnering practices (Carmichael and Whittaker; Simons; Parker; Penman) indicates that contemporary marriages are more temporary, fragile and uncertain than in previous generations. Modern marriages are now less about a permanent and “inescapable” union between a dominant man and a submissive female for the purposes of authorised sex, legal progeny and financial security, and more about a commitment between two social equals for the mutual exchange of affection and companionship (Croome). Less research is available, however, about how couples themselves reconcile the inherited constructions of romantic love as selfless and unending, with trends that clearly indicate that romantic love is not forever, ideal or exclusive. Civil marriage ceremonies provide one source of data about representations of love. Civil unions constituted almost 70 per cent of all marriages in Australia in 2010, according to the Australian Bureau of Statistics. The civil marriage ceremony has both a legal and symbolic role. It is a legal contract insofar as it prescribes a legal arrangement with certain rights and responsibilities between two consenting adults and outlines an expectation that marriage is voluntarily entered into for life. The ceremony is also a public ritual that requires couples to take what are usually private feelings for each other and turn them into a public performance as a way of legitimating their relationship. Consistent with the conventions of performance, couples generally customise the rest of the ceremony by telling the story of their courtship, and in so doing they often draw upon the language and imagery of the Western Romantic tradition to convey the personal meaning and social significance of their decision. This paper explores how couples construct the idea of love in their relationship, first by examining the western history of romantic love and then by looking at how this discourse is invoked by Australians in the course of developing civil marriage ceremonies in collaboration with the author. A History of Romantic Love There are many definitions of romantic love, but all share similar elements including an intense emotional and physical attraction, an idealisation of each other, and a desire for an enduring and unending commitment that can overcome all obstacles (Gottschall and Nordlund; Janowiak and Fischer). Romantic love has historically been associated with heightened passions and intense almost irrational or adolescent feelings. Charles Lindholm’s list of clichés that accompany the idea of romantic love include: “love is blind, love overwhelms, a life without love is not worth living, marriage should be for love alone and anything less is worthless and a sham” (5). These elements, which invoke love as sacred, unending and unique, perpetuate past cultural associations of the term. Romantic love was first documented in Ancient Rome where intense feelings were seen as highly suspect and a threat to the stability of the family, which was the primary economic, social and political unit. Roman historian Plutarch viewed romantic love based upon strong personal attraction as disruptive to the family, and he expressed a fear that romantic love would become the norm for Romans (Lantz 352). During the Middle Ages romantic love emerged as courtly love and, once again, the conventions that shaped its expression grew out of an effort to control excessive emotions and sublimate sexual desire, which were seen as threats to social stability. Courtly love, according to Marilyn Yalom, was seen as an “irresistible and inexhaustible passion; a fatal love that overcomes suffering and even death” (66). Feudal social structures had grounded marriage in property, while the Catholic Church had declared marriage a sacrament and a ceremony through which God’s grace could be obtained. In this context courtly love emerged as a way of dealing with the conflict between the individual and family choices over the martial partner. Courtly love is about a pure ideal of love in which the knight serves his unattainable lady, and, by carrying out feats in her honour, reaches spiritual perfection. The focus on the aesthetic ideal was a way to fulfil male and female emotional needs outside of marriage, while avoiding adultery. Romantic love re-appeared again in the mid-eighteenth century, but this time it was associated with marriage. Intellectuals and writers led the trend normalising romantic love in marriage as a reaction to the Enlightenment’s valorisation of reason, science and materialism over emotion. Romantics objected to the pragmatism and functionality induced by industrialisation, which they felt destroyed the idea of the mysterious and transcendental nature of love, which could operate as a form of secular salvation. Love could not be bought or sold, argued the Romantics, “it is mysterious, true and deep, spontaneous and compelling” (Lindholm 5). Romantic love also emerged as an expression of the personal autonomy and individualisation that accompanied the rise of industrial society. As Lanz suggests, romantic love was part of the critical reflexivity of the Enlightenment and a growing belief that individuals could find self actualisation through the expression and expansion of their “emotional and intellectual capacities in union with another” (354). Thus it was romantic love, which privileges the feelings and wishes of an individual in mate selection, that came to be seen as a bid for freedom by the offspring of the growing middle classes coerced into marriage for financial or property reasons. Throughout the 19th century romantic love was seen as a solution to the dehumanising forces of industrialisation and urbanisation. The growth of the competitive workplace—which required men to operate in a restrained and rational manner—saw an increase in the search for emotional support and intimacy within the domestic domain. It has been argued that “love was the central preoccupation of middle class men from the 1830s until the end of the 19th century” (Stearns and Knapp 771). However, the idealisation of the aesthetic and purity of love impacted marriage relations by casting the wife as pure and marital sex as a duty. As a result, husbands pursued sexual and romantic relationships outside marriage. It should be noted that even though love became cemented as the basis for marriage in the 19th century, romantic love was still viewed suspiciously by religious groups who saw strong affection between couples as an erosion of the fundamental role of the husband in disciplining his wife. During the late 19th and early 20th centuries romantic love was further impacted by urbanisation and migration, which undermined the emotional support provided by extended families. According to Stephanie Coontz, it was the growing independence and mobility of couples that saw romantic love in marriage consolidated as the place in which an individual’s emotional and social needs could be fully satisfied. Coontz says that the idea that women could only be fulfilled through marriage, and that men needed women to organise their social life, reached its heights in the 1950s (25-30). Changes occurred to the structure of marriage in the 1960s when control over fertility meant that sex was available outside of marriage. Education, equality and feminism also saw women reject marriage as their only option for fulfilment. Changes to Family Law Acts in western jurisdictions in the 1970s provided for no-fault divorce, and as divorce lost its stigma it became acceptable for women to leave failing marriages. These social shifts removed institutional controls on marriage and uncoupled the original sexual, emotional and financial benefits packaged into marriage. The resulting individualisation of personal lifestyle choices for men and women disrupted romantic conventions, and according to James Dowd romantic love came to be seen as an “investment” in the “future” that must be “approached carefully and rationally” (552). It therefore became increasingly difficult to sustain the idea of love as a powerful, mysterious and divine force beyond reason. Methodology In seeking to understand how contemporary partnering practices are reconstituting romantic love, I draw upon anecdotal data gathered over a nine-year period from my experiences as a marriage celebrant. In the course of personalising marriage ceremonies, I pose a series of questions designed to assist couples to explain the significance of their relationship. I generally ask brides and grooms why they love their fiancé, why they want to legalise their relationship, what they most treasure about their partner, and how their lives have been changed by their relationship. These questions help couples to reflexively interrogate their own relationship, and by talking about their commitment in concrete terms, they produce the images and descriptions that can be used to describe for guests the internal motivations and sentiments that have led to their decision to marry. I have had couples, when prompted to explain how they know the other person loves them say, in effect: “I know that he loves me because he brings me a cup of coffee every morning” or “I know that she loves me because she takes care of me so well.” These responses are grounded in a realism that helps to convey a sense of sincerity and authenticity about the relationship to the couple’s guests. This realism also helps to address the cynicism about the plausibility of enduring love. The brides and grooms in this sample of 300 couples were a socially, culturally and economically diverse group, and they provided a wide variety of responses ranging from deeply nuanced insights into the nature of their relationship, to admissions that their feelings were so private and deeply felt that words were insufficient to convey their significance. Reoccurring themes, however, emerged across the cases, and it is evident that even as marriage partnerships may be entered into for a variety of reasons, romantic love remains the mechanism by which couples talk of their feelings for each other. Australian Love and Marriage Australians' attitudes to romantic love and marriage have, understandably, been shaped by western understandings of romantic love. It is evident, however, that the demands of late modern capitalist society, with its increased literacy, economic independence and sexual equality between men and women, have produced marriage as a negotiable contract between social equals. For some, like Carol Pateman, this sense of equality within marriage may be illusory. Nonetheless, the drive for individual self-fulfilment by both the bride and groom produces a raft of challenges to traditional ideas of marriage as couples struggle to find a balance between independence and intimacy; between family and career; and between pursuing personal goals and the goals of their partners. This shift in the nature of marriage has implications for the “quest for undying romantic love,” which according to Anthony Giddens has been replaced by other forms of relationship, "each entered into for its own sake, for what can be derived by each person from a sustained association with another; and which is continued only in so far as it is thought by both parties to deliver enough satisfactions for each individual to stay within it” (qtd. in Lindholm 6). The impact of these social changes on the nature of romantic love in marriage is evident in how couples talk about their relationship in the course of preparing a ceremony. Many couples describe the person they are marrying as their best friend, and friendship is central to their commitment. This description supports research by V.K. Oppenheimer which indicates that many contemporary couples have a more “egalitarian collaborative approach to marriage” (qtd. in Carmichael and Whittaker 25). It is also standard for couples to note in ceremonies that they make each other happy and contented, with many commenting upon how their partners have helped to bring focus and perspective to their work-oriented lives. These comments tend to invoke marriage as a refuge from the isolation, competition, and dehumanising elements of workplaces. Since emotional support is central to the marriage contract, it is not surprising that care for each other is another reoccurring theme in ceremonies. Many brides and grooms not only explicitly say they are well taken care of by their partner, but also express admiration for their partner’s treatment of their families and friends. This behaviour appears to be seen as an indicator of the individual’s capacity for support and commitment to family values. Many couples admire partner’s kindness, generosity and level of personal self-sacrifice in maintaining the relationship. It is also not uncommon for brides and grooms to say they have been changed by their love: become kinder, more considerate and more tolerant. Honesty, communication skills and persistence are also attributes that are valued. Brides and grooms who have strong communication skills are also praised. This may refer to interpersonal competency and the willingness to acquire the skills necessary to negotiate the endless compromises in contemporary marriage now that individualisation has undermined established rules, rituals and roles. Persistence and the ability not to be discouraged by setbacks is also a reoccurring theme, and this connects with the idea that marriage is work. Many couples promise to grow together in their marriage and to both take responsibility for the health of their relationship. This promise implies awareness that marriage is not the fantasy of happily ever after produced in romantic popular culture, but rather an arrangement that requires hard work and conscious commitment, particularly in building a union amidst many competing options and distractions. Many couples talk about their relationship in terms of companionship and shared interests, values and goals. It is also not uncommon for couples to say that they admire their partner for supporting them to achieve their life goals or for exposing them to a wider array of lifestyle choices and options like travel or study. These examples of interdependence appear to make explicit that couples still see marriage as a vehicle for personal freedom and self-realisation. The death of love is also alluded to in marriage ceremonies. Couples talk of failed past relationships, but these are produced positively as a mechanism that enables the couple to know that they have now found an enduring relationship. It is also evident that for many couples the decision to marry is seen as the formalisation of a preexisting commitment rather than the gateway to a new life. This is consistent with figures that show that 72 per cent of Australian couples chose to cohabit before marriage (Simons 48), and that cohabitation has become the “normative pathway to marriage” (Penman 26). References to children also feature in marriage ceremonies, and for the couples I have worked with marriage is generally seen as the pre-requisite for children. Couples also often talk about “being ready” for marriage. This seems to refer to being financially prepared. Robyn Parker citing the research of K. Edin concludes that for many modern couples “rushing into marriage before being ‘set’ is irresponsible—marrying well (in the sense of being well prepared) is the way to avoid divorce” (qtd. in Parker 81). From this overview of reoccurring themes in the production of Australian ceremonies it is clear that romantic love continues to be associated with marriage. However, couples describe a more grounded and companionable attachment. These more practical and personalised sentiments serve to meet both the public expectation that romantic love is a precondition for marriage, while also avoiding the production of romantic love in the ceremony as an empty cliché. Grounded descriptions of love reveal that attraction does not have to be overwhelming and unconquerable. Indeed, couples who have lived together and are intimately acquainted with each other’s habits and disposition, appear to be most comfortable expressing their commitment to each other in more temperate, but no less deeply felt, terms. Conclusion This paper has considered how brides and grooms constitute romantic love within the shifting partnering practices of contemporary Australia. It is evident “in the midst of significant social and economic change and at a time when individual rights and freedom of choice are important cultural values” marriage remains socially significant (Simons 50). This significance is partially conveyed through the language of romantic love, which, while freighted with an array of cultural and historical associations, remains the lingua franca of marriage, perhaps because as Roberto Unger observes, romantic love is “the most influential mode of moral vision in our culture” (qtd. in Lindholm 5). It is thus possible to conclude, that while marriage may be declining and becoming more fragile and impermanent, the institution remains important to couples in contemporary Australia. Moreover, the language and imagery of romantic love, which publicly conveys this importance, remains the primary mode of expressing care, affection and hope for a partnership, even though the changed partnering practices of late modern capitalist society have exposed the utopian quality of romantic love and produced a cynicism about the viability of its longevity. It is evident in the marriage ceremonies prepared by the author that while the language of romantic love has come to signify a broader range of more practical associations consistent with the individualised nature of modern marriage and demystification of romantic love, it also remains the best way to express what Dowd and Pallotta describe as a fundamental human “yearning for communion with and acceptance by another human being” (571). References Beck, U., and E. Beck-Gernsheim, Individualisation: Institutionalised Individualism and Its Social and Political Consequences. London: Sage, 2002. Beigel, Hugo G. “Romantic Love.” American Sociological Review 16.3 (1951): 326–34. Carmichael, Gordon A, and Andrea Whittaker. “Forming Relationships in Australia: Qualitative Insights into a Process Important to Human Well Being.” Journal of Population Research 24.1 (2007): 23–49. Coontz, Stephanie. Marriage, A History: How Love Conquered Marriage. New York: Viking, 2005. Croome, Rodney. “Love and Commitment, To Equality.” The Drum Opinion, Australian Broadcasting Corporation (ABC) News. 8 June 2011. 14 Aug. 2012 < http://www.abc.net.au/unleashed/2749898.html >. de Vaus, D.L. Qu, and R. Weston. “Family Trends: Changing Patterns of Partnering.” Family Matters 64 (2003): 10–15. Dowd, James T, and Nicole R. Pallotta. “The End of Romance: The Demystification of Love in the Postmodern Age.” Sociological Perspectives 43.4 (2000): 549–80. Gottschall, Jonathan, and Marcus Nordlund. “Romantic Love: A Literary Universal?” Philosophy and Literature 30 (2006): 450–70. Jankowiak, William, and Ted Fischer, “A Cross-Cultural Perspective on Romantic Love,” Ethnology 31 (1992): 149–55. Lantz, Herman R. “Romantic Love in the Pre-Modern Period: A Sociological Commentary.” Journal of Social History 15.3 (1982): 349–70. Lindholm, Charles. “Romantic Love and Anthropology.” Etnofoor 19:1 Romantic Love (2006): 5–21. Parker, Robyn. “Perspectives on the Future of Marriage.” Australian Institute of Family Studies 72 Summer (2005): 78–82.Pateman, Carole. “Women and Consent.” Political Theory (1980): 149–68. Penman, Robyn. “Current Approaches to Marriage and Relationship Research in the United States and Australia.” Family Matters 70 Autumn (2005): 26–35. Simons, Michelle. “(Re)-forming Marriage in Australia?” Australian Institute of Family Matters 73 (2006): 46–51.Stearns, Peter N, and Mark Knapp. “Men and Romantic Love: Pinpointing a 20th-Century Change.” Journal of Social History 26.4 (1993): 769–95. Yalom, Marilyn. A History of the Wife. New York: Harper Collins, 2001.

As the name suggests, the humanities is largely a study of the human condition, in which history sits as a discipline concerned with the past. Environmental history is a new field that brings together scholars from a range of disciplines to consider the changing relationships between humans and the environment over time. Critiques of anthropocentrism that place humans at the centre of the universe or make assessments through an exclusive human perspective provide a challenge to scholars to rethink our traditional biases against the nonhuman world. The movement towards nonhumanism or posthumanism, however, does not seem to have had much of an impression on history as a discipline. What would a nonhumanist history look like if we re-centred the historical narrative around pigs? There are histories of pigs as food (see for example, The Cambridge History of Food which has a chapter on “Hogs”). There are food histories that feature pork in terms of its relationship to multiethnic identity (such as Donna Gabaccia’s We Are What We Eat) and examples made of pigs to promote ethical eating (Singer). Pigs are central to arguments about dietary rules and what motivates them (Soler; Dolander). Ancient pig DNA has also been employed in studies on human migration and colonisation (Larson et al.; Durham University). Pigs are also widely used in a range of products that would surprise many of us. In 2008, Christien Meindertsma spent three years researching the products made from a single pig. Among some of the more unexpected results were: ammunition, medicine, photographic paper, heart valves, brakes, chewing gum, porcelain, cosmetics, cigarettes, hair conditioner and even bio diesel. Likewise, Fergus Henderson, who coined the term ‘nose to tail eating’, uses a pig on the front cover of the book of that name to suggest the extraordinary and numerous potential of pigs’ bodies. However, my intention here is not to pursue a discussion of how parts of their bodies are used, rather to consider a reorientation of the historical narrative to place pigs at the centre of stories of our co-evolution, in order to see what their history might say about humans and our relationships with them. This is underpinned by recognition of the inter-relationality of humans and animals. The relationships between wild boar and pigs with humans has been long and diverse. In a book exploring 10,000 years of interaction, Anton Ervynck and Peter Rowley-Conwy argue that pigs have been central to complex cultural developments in human societies and they played an important role in human migration patterns. The book is firmly grounded within the disciplines of zoology, anthropology and archaeology and contributes to an understanding of the complex and changing relationship humans have historically shared with wild boar and domestic pigs. Naturalist Lyall Watson also explores human/pig relationships in The Whole Hog. The insights these approaches offer for the discipline of history are valuable (although overlooked) but, more importantly, such scholarship also challenges a humanist perspective that credits humans exclusively with historical change and suggests, moreover, that we did it alone. Pigs occupy a special place in this history because of their likeness to humans, revealed in their use in transplant technology, as well as because of the iconic and paradoxical status they occupy in our lives. As Ervynck and Rowley-Conwy explain, “On the one hand, they are praised for their fecundity, their intelligence, and their ability to eat almost anything, but on the other hand, they are unfairly derided for their apparent slovenliness, unclean ways, and gluttonous behaviour” (1). Scientist Niamh O’Connell was struck by the human parallels in the complex social structures which rule the lives of pigs and people when she began a research project on pig behaviour at the Agricultural Research Institute at Hillsborough in County Down (Cassidy). According to O’Connell, pigs adopt different philosophies and lifestyle strategies to get the most out of their life. “What is interesting from a human perspective is that low-ranking animals tend to adopt one of two strategies,” she says. “You have got the animals who accept their station in life and then you have got the other ones that are continually trying to climb, and as a consequence, their life is very stressed” (qtd. in Cassidy). The closeness of pigs to humans is the justification for their use in numerous experiments. In the so-called ‘pig test’, code named ‘Priscilla’, for instance, over 700 pigs dressed in military uniforms were used to study the effects of nuclear testing at the Nevada (USA) test site in the 1950s. In When Species Meet, Donna Haraway draws attention to the ambiguities and contradictions promoted by the divide between animals and humans, and between nature and culture. There is an ethical and critical dimension to this critique of human exceptionalism—the view that “humanity alone is not [connected to the] spatial and temporal web of interspecies dependencies” (11). There is also that danger that any examination of our interdependencies may just satisfy a humanist preoccupation with self-reflection and self-reproduction. Given that pigs cannot speak, will they just become the raw material to reproduce the world in human’s own image? As Haraway explains: “Productionism is about man the tool-maker and -user, whose highest technical production is himself […] Blinded by the sun, in thrall to the father, reproduced in the sacred image of the same, his rewards is that he is self-born, an auto telic copy. That is the mythos of enlightenment and transcendence” (67). Jared Diamond acknowledges the mutualistic relationship between pigs and humans in Guns, Germs and Steel and the complex co-evolutionary path between humans and domesticated animals but his account is human-centric. Human’s relationships with pigs helped to shape human history and power relations and they spread across the world with human expansion. But questioning their utility as food and their enslavement to this cause was not part of the account. Pigs have no voice in the histories we write of them and so they can appear as passive objects in their own pasts. Traces of their pasts are available in humanity’s use of them in, for example, the sties built for them and the cooking implements used to prepare meals from them. Relics include bones and viruses, DNA sequences and land use patterns. Historians are used to dealing with subjects that cannot speak back, but they have usually left ample evidence of what they have said. In the process of writing, historians attempt to perform the miracle, as Curthoys and Docker have suggested, of restoration; bringing the people and places that existed in the past back to life (7). Writing about pigs should also attempt to bring the animal to life, to understand not just their past but also our own culture. In putting forward the idea of an alternative history that starts with pigs, I am aware of both the limits to such a proposal, and that most people’s only contact with pigs is through the meat they buy at the supermarket. Calls for a ban on intensive pig farming (RSPCA, ABC, AACT) might indeed have shocked people who imagine their dinner comes from the type of family farm featured in the movie Babe. Baby pigs in factory farms would have been killed a long time before the film’s sheep dog show (usually at 3 to 4 months of age). In fact, because baby pigs do grow so fast, 48 different pigs were used to film the role of the central character in Babe. While Babe himself may not have been aware of the relationship pigs generally have to humans, the other animals were very cognisant of their function. People eat pigs, even if they change the name of the form it takes in order to do so:Cat: You know, I probably shouldn’t say this, but I’m not sure if you realize how much the other animals are laughing at you for this sheep dog business. Babe: Why would they do that? Cat: Well, they say that you’ve forgotten that you’re a pig. Isn't that silly? Babe: What do you mean? Cat: You know, why pigs are here. Babe: Why are any of us here? Cat: Well, the cow’s here to be milked, the dogs are here to help the Boss's husband with the sheep, and I’m here to be beautiful and affectionate to the boss. Babe: Yes? Cat: [sighs softly] The fact is that pigs don’t have a purpose, just like ducks don’t have a purpose. Babe: [confused] Uh, I—I don’t, uh ... Cat: Alright, for your own sake, I’ll be blunt. Why do the Bosses keep ducks? To eat them. So why do the Bosses keep a pig? The fact is that animals don’t seem to have a purpose really do have a purpose. The Bosses have to eat. It’s probably the most noble purpose of all, when you come to think about it. Babe: They eat pigs? Cat: Pork, they call it—or bacon. They only call them pigs when they’re alive (Noonan). Babe’s transformation into a working pig to round up the sheep makes him more useful. Ferdinand the duck tried to do the same thing by crowing but was replaced by an alarm clock. This is a common theme in children’s stories, recalling Charlotte’s campaign to praise Wilbur the pig in order to persuade the farmer to let him live in E. B. White’s much loved children’s novel, Charlotte’s Web. Wilbur is “some pig”, “terrific”, “radiant” and “humble”. In 1948, four years before Charlotte’s Web, White had published an essay “Death of a Pig”, in which he fails to save a sick pig that he had bought in order to fatten up and butcher. Babe tried to present an alternative reality from a pig’s perspective, but the little pig was only spared because he was more useful alive than dead. We could all ask the question why are any of us here, but humans do not have to contemplate being eaten to justify their existence. The reputation pigs have for being filthy animals encourages distaste. In another movie, Pulp Fiction, Vincent opts for flavour, but Jules’ denial of pig’s personalities condemns them to insignificance:Vincent: Want some bacon? Jules: No man, I don’t eat pork. Vincent: Are you Jewish? Jules: Nah, I ain’t Jewish, I just don’t dig on swine, that’s all. Vincent: Why not? Jules: Pigs are filthy animals. I don’t eat filthy animals. Vincent: Bacon tastes gooood. Pork chops taste gooood. Jules: Hey, sewer rat may taste like pumpkin pie, but I’d never know ’cause I wouldn’t eat the filthy motherfucker. Pigs sleep and root in shit. That’s a filthy animal. I ain’t eat nothin’ that ain’t got sense enough to disregard its own feces [sic]. Vincent: How about a dog? Dogs eats its own feces. Jules: I don’t eat dog either. Vincent: Yeah, but do you consider a dog to be a filthy animal? Jules: I wouldn’t go so far as to call a dog filthy but they’re definitely dirty. But, a dog’s got personality. Personality goes a long way. Vincent: Ah, so by that rationale, if a pig had a better personality, he would cease to be a filthy animal. Is that true? Jules: Well we’d have to be talkin’ about one charming motherfuckin’ pig. I mean he’d have to be ten times more charmin’ than that Arnold on Green Acres, you know what I’m sayin’? In the 1960s television show Green Acres, Arnold was an exceptional pig who was allowed to do whatever he wanted. He was talented enough to write his own name and play the piano and his attempts at painting earned him the nickname “Porky Picasso”. These talents reflected values that are appreciated, and so he was. The term “pig” is, however, chiefly used a term of abuse, however, embodying traits we abhor—gluttony, obstinence, squealing, foraging, rooting, wallowing. Making a pig of yourself is rarely honoured. Making a pig of the humanities, however, could be a different story. As a historian I love to forage, although I use white gloves rather than a snout. I have rubbed my face and body on tree trunks in the service of forestry history and when the temperature rises I also enjoy wallowing, rolling from side to side rather than drawing a conclusion. More than this, however, pigs provide a valid means of understanding key historical transitions that define modern society. Significant themes in modern history—production, religion, the body, science, power, the national state, colonialism, gender, consumption, migration, memory—can all be understood through a history of our relationships with pigs. Pigs play an important role in everyday life, but their relationship to the economic, social, political and cultural matters discussed in general history texts—industrialisation, the growth of nation states, colonialism, feminism and so on—are generally ignored. However “natural” this place of pigs may seem, culture and tradition profoundly shape their history and their own contribution to those forces has been largely absent in history. What, then, would the contours of such a history that considered the intermeshing of humans and pigs look like? The intermeshing of pigs in early human history Agricultural economies based on domestic animals began independently in different parts of the world, facilitating increases in population and migration. Evidence for long-term genetic continuity between modern and ancient Chinese domestic pigs has been established by DNA sequences. Larson et al. have made an argument for five additional independent domestications of indigenous wild boar populations: in India, South East Asia and Taiwan, which they use to develop a picture of both pig evolution and the development and spread of early farmers in the Far East. Domestication itself involves transformation into something useful to animals. In the process, humans became transformed. The importance of the Fertile Crescent in human history has been well established. The area is attributed as the site for a series of developments that have defined human history—urbanisation, writing, empires, and civilisation. Those developments have been supported by innovations in food production and animal husbandry. Pig, goats, sheep and cows were all domesticated very early in the Fertile Crescent and remain four of the world’s most important domesticated mammals (Diamond 141). Another study of ancient pig DNA has concluded that the earliest domesticated pigs in Europe, believed to be descended from European wild boar, were introduced from the Middle East. The research, by archaeologists at Durham University, sheds new light on the colonisation of Europe by early farmers, who brought their animals with them. Keith Dobney explains:Many archaeologists believe that farming spread through the diffusion of ideas and cultural exchange, not with the direct migration of people. However, the discovery and analysis of ancient Middle Eastern pig remains across Europe reveals that although cultural exchange did happen, Europe was definitely colonised by Middle Eastern farmers. A combination of rising population and possible climate change in the ‘fertile crescent’, which put pressure on land and resources, made them look for new places to settle, plant their crops and breed their animals and so they rapidly spread west into Europe (ctd in ScienceDaily). Middle Eastern farmers colonised Europe with pigs and in the process transformed human history. Identity as a porcine theme Religious restrictions on the consumption of pigs come from the same area. Such restrictions exist in Jewish dietary laws (Kashrut) and in Muslim dietary laws (Halal). The basis of dietary laws has been the subject of much scholarship (Soler). Economic and health and hygiene factors have been used to explain the development of dietary laws historically. The significance of dietary laws, however, and the importance attached to them can be related to other purposes in defining and expressing religious and cultural identity. Dietary laws and their observance may have been an important factor in sustaining Jewish identity despite the dispersal of Jews in foreign lands since biblical times. In those situations, where a person eats in the home of someone who does not keep kosher, the lack of knowledge about your host’s ingredients and the food preparation techniques make it very difficult to keep kosher. Dietary laws require a certain amount of discipline and self-control, and the ability to make distinctions between right and wrong, good and evil, pure and defiled, the sacred and the profane, in everyday life, thus elevating eating into a religious act. Alternatively, people who eat anything are often subject to moral judgments that may also lead to social stigmatisation and discrimination. One of the most powerful and persuasive discourses influencing current thinking about health and bodies is the construction of an ‘obesity epidemic’, critiqued by a range of authors (see for example, Wright & Harwood). As omnivores who appear indiscriminate when it comes to food, pigs provide an image of uncontrolled eating, made visible by the body as a “virtual confessor”, to use Elizabeth Grosz’s term. In Fat Pig, a production by the Sydney Theatre Company in 2006, women are reduced to being either fat pigs or shrieking shallow women. Fatuosity, a blog by PhD student Jackie Wykes drawing on her research on fat and sexual subjectivity, provides a review of the play to describe the misogyny involved: “It leaves no options for women—you can either be a lovely person but a fat pig who will end up alone; or you can be a shrill bitch but beautiful, and end up with an equally obnoxious and shallow male counterpart”. The elision of the divide between women and pigs enacted by such imagery also creates openings for new modes of analysis and new practices of intervention that further challenge humanist histories. Such interventions need to make visible other power relations embedded in assumptions about identity politics. Following the lead of feminists and postcolonial theorists who have challenged the binary oppositions central to western ideology and hierarchical power relations, critical animal theorists have also called into question the essentialist and dualist assumptions underpinning our views of animals (Best). A pig history of the humanities might restore the central role that pigs have played in human history and evolution, beyond their exploitation as food. Humans have constructed their story of the nature of pigs to suit themselves in terms that are specieist, racist, patriarchal and colonialist, and failed to grasp the connections between the oppression of humans and other animals. The past and the ways it is constructed through history reflect and shape contemporary conditions. In this sense, the past has a powerful impact on the present, and the way this is re-told, therefore, also needs to be situated, historicised and problematicised. The examination of history and society from the standpoint of (nonhuman) animals offers new insights on our relationships in the past, but it might also provide an alternative history that restores their agency and contributes to a different kind of future. As the editor of Critical Animals Studies, Steve Best describes it: “This approach, as I define it, considers the interaction between human and nonhuman animals—past, present, and future—and the need for profound changes in the way humans define themselves and relate to other sentient species and to the natural world as a whole.” References ABC. “Changes to Pig Farming Proposed.” ABC News Online 22 May 2010. 10 Aug. 2010 http://www.abc.net.au/news/stories/2010/05/22/2906519.htm Against Animal Cruelty Tasmania. “Australia’s Intensive Pig Industry: The Intensive Pig Industry in Australia Has Much to Hide.” 10 Sep. 2010 http://www.aact.org.au/pig_industry.htm Babe. Dir. Chris Noonan. Universal Pictures, 1995. Best, Steven. “The Rise of Critical Animal Studies: Putting Theory into Action and Animal Liberation into Higher Education.” Journal for Critical Animal Studies 7.1 (2009): 9-53. Cassidy, Martin. “How Close are Pushy Pigs to Humans?”. BBC News Online 2005. 10 Sep. 2010 http://news.bbc.co.uk/2/hi/uk_news/northern_ireland/4482674.stmCurthoys, A., and Docker, J. “Time Eternity, Truth, and Death: History as Allegory.” Humanities Research 1 (1999) 10 Sep. 2010 http://www.anu.edu.au/hrc/publications/hr/hr_1_1999.phpDiamond, Jared. Guns, Germs and Steel: The Fates of Human Societies. New York: W. W. Norton, 1999. Dolader, Miguel-Àngel Motis. “Mediterranean Jewish Diet and Traditions in the Middle Ages”. Food: A Culinary History. Eds. Jean-Louis Flandrin and Massimo Montanari. Trans. Clarissa Botsford, Arthus Golhammer, Charles Lambert, Frances M. López-Morillas and Sylvia Stevens. New York: Columbia UP, 1999. 224-44. Durham University. “Chinese Pigs ‘Direct Descendants’ of First Domesticated Breeds.” ScienceDaily 20 Apr. 2010. 29 Aug. 2010 http://www.sciencedaily.com/releases/2010/04/100419150947.htm Gabaccia, Donna R. We Are What We Eat: Ethnic Food and the Making of Americans. Cambridge: Harvard University Press, 1998. Grosz, Elizabeth. Volatile Bodies: Toward a Corporeal Feminism. St Leonards: Allen & Unwin, 1994. Haraway, D. “The Promises of Monsters: A Regenerative Politics for Inappropriate/d Others.” The Haraway Reader. New York: Routledge, 2005. 63-124. Haraway, D. When Species Meet: Posthumanities. 3rd ed. London: University of Minnesota Press, 2008. Henderson, Fergus. Nose to Tail Eating: A Kind of British Cooking. London: Bloomsbury, 2004. Kiple, Kenneth F., Kriemhild Coneè Ornelas. Cambridge History of Food. Cambridge: Cambridge University Press, 2000. Larson, G., Ranran Liu, Xingbo Zhao, Jing Yuan, Dorian Fuller, Loukas Barton, Keith Dobney, Qipeng Fan, Zhiliang Gu, Xiao-Hui Liu, Yunbing Luo, Peng Lv, Leif Andersson, and Ning Li. “Patterns of East Asian Pig Domestication, Migration, and Turnover Revealed by Modern and Ancient DNA.” Proceedings of the National Academy of Sciences, United States 19 Apr. 2010. 10 Sep. 2010 http://www.pnas.org/cgi/content/full/0912264107/DCSupplemental Meindertsma, Christien. “PIG 05049. Kunsthal in Rotterdam.” 2008. 10 Sep. 2010 http://www.christienmeindertsma.com/index.php?/books/pig-05049Naess, A. “The Shallow and the Deep, Long-Range Ecology Movement.” Inquiry 16 (1973): 95-100. Needman, T. Fat Pig. Sydney Theatre Company. Oct. 2006. Noonan, Chris [director]. “Babe (1995) Memorable Quotes”. 10 Sep. 2010 http://www.imdb.com/title/tt0112431/quotes Plumwood, V. Feminism and the Mastery of Nature. London: Routledge, 1993. Pulp Fiction. Dir. Quentin Tarantino. Miramax, 1994. RSPCA Tasmania. “RSPCA Calls for Ban on Intensive Pig Farming.” 10 Sep. 2010 http://www.rspcatas.org.au/press-centre/rspca-calls-for-a-ban-on-intensive-pig-farming ScienceDaily. “Ancient Pig DNA Study Sheds New Light on Colonization of Europe by Early Farmers” 4 Sep. 2007. 10 Sep. 2010 http://www.sciencedaily.com/releases/2007/09/070903204822.htm Singer, Peter. “Down on the Family Farm ... or What Happened to Your Dinner When it was Still an Animal.” Animal Liberation 2nd ed. London: Jonathan Cape, 1990. 95-158. Soler, Jean. “Biblical Reasons: The Dietary Rules of the Ancient Hebrews.” Food: A Culinary History. Eds. Jean-Louis Flandrin and Massimo Montanari. Trans. Clarissa Botsford, Arthus Golhammer, Charles Lambert, Frances M. López-Morillas and Sylvia Stevens. New York: Columbia University Press, 1999. 46-54. Watson, Lyall. The Whole Hog: Exploring the Extraordinary Potential of Pigs. London: Profile, 2004. White, E. B. Essays of E. B. White. London: HarperCollins, 1979. White, E. B. Charlotte’s Web. London: HarperCollins, 2004. Wright, J., and V. Harwood. Eds. Biopolitics and the ‘Obesity Epidemic’. New York: Routledge, 2009. Wykes, J. Fatuosity 2010. 29 Aug. 2010 http://www.fatuosity.net

Reality TV has emerged as a visible site for contemporary debates over modern fame. In fact, while issues of ‘taste’ and cultural value have long since shaped conceptions of celebrity (Turner, Bonner, Marshall 178), the issue of fame has played a central role in the negative cultural criticisms of Reality TV. Reality programming is often invoked as short-hand to illustrate the moral ills of contemporary fame – as if it has somehow swept away the certainties of ‘the past’ where discourses of public recognition, visibility and reward are concerned. In exploring Reality TV as a site of contemporary fame, I examine here some of these claims to ‘transformation’, not so much to defend the form’s participation in celebrity culture, as to indicate that there is more going on here than these (increasingly familiar) critiques appear to suggest. We can note, for example, their tendency to simplify the history of fame (which of course then makes it far easier to situate Reality TV as a conclusive break with the past). Equally, these criticisms seem of limited use when it comes to considering what is clearly a broader cultural fascination with fame in Reality TV. Furthermore, such critiques tend to operate at a very general level, often paying little attention to how fame is actually articulated in Reality TV, and the possibilities of differences between formats. The period 2000-1 saw a number of global reality game shows emerge in the UK and elsewhere and in general terms, critics often foregrounded fame as part of a broader negative response to the use of factual programming as primarily entertainment. The pervasive screen examples of ‘would-be presenters’ or ‘wannabe models’ were invoked as antithetical to perceptions of factual programming’s traditionally more ‘worthy’ (and implicitly public service) agenda (Holmes, “All”). But in the context of fame, it is more appropriate to suggest that a number of critical positions on Reality TV have emerged. For example, in what is probably the most prevalent perspective in circulation, contestants have persistently been constructed as exemplifying, and in many ways accelerating, a shift toward a fame culture in which an emphasis on ‘famous for being famous’ has regrettably triumphed over the concepts of ‘talent’ and ‘hard work’ (Holmes, “All”) (even though this perspective is clearly far from new) (see Marshall 9-11). Second, and related to the emphasis on ‘undeserved’ fame above, has been a position which foregrounds the prominence of falsity and manufacture. Here, Reality TV contestants are seen as falling victim to the manipulative powers of a ruthless fame-making machine. Often yoked to an emphasis on the ephemeral nature of their celebrity, here we encounter cautionary tales about the price of public visibility and the lure of immediate wealth, a penalty when, as one programme put it, ‘instant television fame is over in a dream’ (Tonight with Trevor McDonald, ITV1, 13 Feb. 2004). In contrast, the centrality of the ‘ordinary’ person turned celebrity has been read in terms of democratisation, both in relation to access to the televisual airwaves (a position championed by broadcasters and producers, for example) (Bazalgette) and to the dynamics of public/ media visibility itself (see Biressi and Nunn). These positions clearly intersect, their distinctions largely inflected by the perspective of the observer. For example, what is the producer’s claim to ‘democratisation’ is the critic’s class-based distaste for all these ‘awful ordinary’ people on television (see Bazalgette). While each of these positions is limited and simplistic, collectively they do speak to changing cultural conceptions of fame. Joshua’s Gamson’s (Claims, “Assembly”) work in particular has usefully suggested a picture in which certain positions on, or ‘explanations of fame’, have had a historical significance in vying for cultural visibility (although the contours of these narratives must be swiftly drawn here). With the growth of the arts and technologies and the establishment of celebrity as a mass phenomenon (see Gamson, “Assembly” 261), public visibility became increasingly detached from aristocratic standing, with discourses of democracy – as epitomised by the American context – increasingly coming to the fore. With the Hollywood studio system representing celebrity’s later period of industrialisation, and with a controlled production system producing celebrities for a mass audience, the earlier theme of ‘greatness’ became muted into questions of ‘star quality’ and ‘talent’ (Gamson, “Assembly” 264). While the focus may now have been predominantly on the culture of the ‘personality’, Gamson argues that the primary narrative was still one of ‘natural’ rise (“Assembly” 264). However, what is crucial here is that the increasing visibility of the publicity machine itself gradually began to pose a threat to this myth. Shaped by industrial and cultural shifts such as the decline of the Hollywood studio system and the emergence of television, as well as the increasing growth of celebrity journalism, the second half of the 20th century witnessed the increasing prevalence of the ‘manufacture’ discourse, where it henceforth becomes what Gamson describes as a ‘serious contender’ in explaining celebrity (Claims 44). This is not to suggest that the older ideological myths of fame are entirely obscured but rather that, perhaps as never before, the two positions precariously jostle for visibility in the same space. Indeed, Gamson suggests that by the late 20th century, it was possible to discern strategies intended to ‘cope’ with the increasing potential for disjuncture here. In particular, he points toward the twin devices of the ‘exposure’ of the process and the construction of an ironic and mocking perspective on celebrity culture, both of which can be seen to offer the audience a flattering position of power (Claims 276). In many ways, Reality TV would appear to be paradigmatic of these discursive shifts in fame. While I emphasise the specificity of particular formats below, Reality TV in the form of Big Brother, Pop Idol or celebrity-reality shows (such as I’m a Celebrity… Get Me Out of Here!), have made a particular claim to ‘reveal’ or ‘expose’ the process of fame construction – whether in terms of following ‘ordinary’ hopefuls from the audition stages to their entrance into the media world, or by claiming to offer us an unprecedented ‘access’ to existing celebrities (‘stripping’ away the celebrity façade). (While of course what Richard Dyer termed ‘the negotiation of authenticity’, or the bid to think in terms of ‘really’, has long since structured the textual mediation of celebrity, it can conceivably be seen to have witnessed an accelerated shift in these contexts.) Equally, in terms of the decline of older myths of fame, these shows exhibit a self-conscious acknowledgement of the process of image production and construction, and the use of celebrity for commercial purposes. Lastly, in mediating the threat of the manufacture discourse, they evidently speak quite explicitly to an emphasis on the ‘power’ of the audience given that, through the now familiar use of interactivity (see Holmes, “But”), they construct the audience as operating as the ultimate creator of the celebrity. This already begins to indicate how, responding to and participating in particular discursive shifts in fame, Reality TV negotiates contemporary discourses on celebrity in complex and contradictory ways. Yet this would also need to acknowledge the differences and specificities of particular formats. For example, Big Brother may well be invoked as the ultimate example of the decline of older myths of fame. The programme does not suggest that a special ‘talent’, or ‘hard work’, are necessary for fame. Indeed, time in the house is clearly organised around an excess of leisured time in which, as the primary antidotes to boredom, eating, sleeping and sunbathing are repetitiously played out before the camera’s gaze. Contestants talk self-consciously about being ‘produced’ as celebrities while in the house (in terms of the programme and wider press coverage), with the understanding that each other’s behaviour and self-presentation is clearly directed to this end. The highly opportunistic and potentially calculating conception of fame is thus self-consciously displayed in the programme itself. In comparison, drawing on the older genre of the TV talent show, the Reality pop programmes such as Popstars (2001, UK), Pop Idol (2001-2, 2003, UK), Fame Academy (2002, 2003, UK) and most recently, The X-Factor (2004, UK) are more explicitly configured around the ‘search’ for a star. In this respect, they are specifically concerned with dramatising a power relationship between music industry and audience, a dialogue which is mapped onto the narrative of the star-making process. Certainly, on one level, they are self-consciously a product of the manufacture era of fame, produced for the scrutiny of a media-aware audience entirely conversant with the concept of ‘image’ construction. In tracking the contestants through auditions, training and re-styling, we witness the open production of the famous self – often trying on different ‘images’ week by week – and the ideological constraints (such as those pertaining to body image or physical appearance) under which this process must take place. The judges equally claim to be representative articulations of the ‘reality’ of the business by foregrounding the importance of image ‘packaging’ and the selling of the self. (As the notoriously ‘nasty’ judge Simon Cowell explains in one edition of Pop Idol, ‘Ten year old girls in Hull have to want to be you… They have to buy into the “image”. Do you see?’) (12 Sep. 2003). In short, they often boldly foreground the capitalistic nature of celebrity production. But at the same time, these programmes clearly draw upon, and arguably engage the audience by, much articulating older myths of fame. Given that, in Gamson’s terms, the pervasive nature of the manufacture discourse ultimately represents a threat to the commercial enterprise of celebrity, these shows provide exemplary evidence of the ways in which the two claims-to-fame stories continue to jostle for cultural legitimacy. Celebrating a mythic emphasis on a unique, authentic and gifted self, there is a persistent bid to lay claim to an indefinable sense of ‘specialness’. Indeed, the phrases ‘you’ve got “star quality” or the “X factor” have become an increasingly self-conscious convention in the shows themselves – as suggested by the naming of the most recent UK format, The X-Factor. In their emphasis on ‘ordinariness’, ‘lucky breaks’, ‘specialness’ and ‘hard work’, they are paradigmatic of the meritocratic ideology of the ‘access myth’ (Dyer, Stars). As Fame Academy’s singing coach Carrie Grant gravely tells the contestants: ‘The only place where “success” comes before work is in the dictionary’ (14 Dec. 2002). In this respect, without the irony or humour that has become such a pervasive aspect of contemporary celebrity coverage (see Gamson, Claims, “Assembly”), the programmes clearly also re-peddle traditional explanations of fame for contemporary cultural consumption (Holmes, “Reality”). Dismissals of these programmes in terms of their promotion of ‘manufactured pop’ ignore the fact that ‘authenticity’ is not really configured around the music itself. Pop music (and particularly TV pop) has historically been configured as ‘the most inauthentic music’ (Moore 220), whether in terms of industrial production, form/ sound, or artist expression and identity. But in many ways the programmes openly acknowledge the derivative and packaged nature of ‘pop’. The aspirant pop stars often sing cover versions on the shows (although they are valued and praised for inserting their ‘individual’ style), and in Pop Idol we witness each of the three finalists record the winning song in the studio prior to the result of the (live) television vote. In this respect, evoking Adorno’s famous critique of popular music’s standardised form, their voice is a cog in a wider machine – a component part which can be substituted and exchanged. But Reality TV’s serial form, aesthetic style and pursuit of ‘the real’, asks us to buy into the authenticity of the self, that the participants are – despite the image packaging – somehow the same person that auditioned at the start. There is often equally the suggestion that Reality TV may bring out the ‘real’, ‘special’ self that was partly inside all along: As one contestant in Fame Academy is chastised after a live performance: ‘We’ve had you showing that you can be Westlife or Bryan Adams, but have we had Barry yet? Where, Barry, is the “Barryness” of Barry?’ (19 Sep. 2003). But in broad terms, with factory workers, waitresses or train drivers turning into superstars, contestants are often imagined as being more ‘authentic’ because of their class background, something which has historically been conceived to signify ‘ordinariness’ within narratives of fame. This is again paradigmatic of the older, traditional discourse of the success myth (and its close companion, the American Dream) (Dyer, Stars). In the Reality format, this is also factored though the sense that we have ‘known’ them in the moment of authentic ‘pre-fame’, when, in short, they were ‘just like us’. In the context of his wider argument that stars work to articulate ideas of personhood or selfhood (Dyer, Stars), one of Richard Dyer’s key interventions was to suggest that stars function to work through discourses of individualism (see also Marshall). Working from a broadly Marxist perspective, he explained how the perpetual attempt to negotiate authenticity in the star image worked to promote a particular concept of personhood on which capitalist society depends. Dyer conceptualised this as ‘a separable, coherent quality, located “inside” consciousness and variously termed “the self”, “the soul”, “the subject”…’ (9). Although, in the context of contemporary celebrity culture and the discourses of postmodernism, Dyer’s model of the self has been critiqued and challenged (see Lovell, King), it by no means seems redundant here. We are absolutely encouraged to seek out, recognise, and believe in, the ‘inner’ self in Reality TV, while the highly performative and mediated context of the form makes this quest more paradoxical than ever. In fact, while programmes such as Big Brother and Pop Idol may display significantly different discourses on, or explanations of fame, this ideology of selfhood permeates much of Reality TV. While in Big Brother there is much self-reflexive and dizzying discussion of ‘who is being their real selves? Who is simply playing up for the camera?’, we are asked to judge the contestants (and they are asked to judge each other), precisely by this criteria of ‘authenticity’. We only need note that – from Big Brother, the pop programmes to the celebrity-reality shows – winners are often chosen and applauded because they are seen to have been the most ‘true’ to themselves. Again, despite the self-reflexive and performative context of Reality TV, this suggests highly conservative ideologies of selfhood and individualism. As Dyer reminds us, we have historically valued stars who appear to ‘bear witness to the continuousness of their own selves’, given that ‘sincerity and authenticity are two qualities greatly prized in stars’ (11). While it is not my intention to make assumptions about audience reading strategies here, it is worth noting that existing audience research (Hill, Jones) into Reality TV has emphasised how viewers indeed obtain satisfaction from the search for ‘the real’ in Reality TV, and from actively negotiating the tensions between construction, performance and authenticity. Annette Hill describes how the ‘game’ is ‘to find the “truth” in the spectacle/performance environment’ (337), and as this quote implies, this is far from suggesting that audiences have given up on the idea of ‘the real’ in Reality TV (Hill, Jones). The primary site on which this is played out is the representation of the self – an arena which stardom and celebrity has historically placed centre stage (Dyer, Marshall). As this suggests, then, the two fields have much to discuss. While I have only touched briefly on the detail of the formats here, this discussion emphasises how Reality TV demands closer consideration in the context of claims suggesting its ‘transformation’ of celebrity. Its position with a longer history of fame, the specificities of particular formats, and the ideological parameters in which they function, all question any simple or homogenous interpretation of its impact on celebrity culture. References Adorno, Theodor. “On Popular Music.” 1941. On Record: Rock, Pop and the Written Word. Eds. Simon Frith and Andrew Goodwin. London: Routledge, 1990. 22-38. Bazalgette, Peter. “Big Brother and Beyond.” Television (Oct. 2001): 20-3. Biressi, Anita, and Heather Nunn “The Especially Remarkable: Celebrity and Social Mobility in Reality TV.” Mediactive 2 (2004): 44-58. Dyer, Richard. Stars. London: BFI, 1979 (reprinted 1998). Dyer, Richard. Heavenly Bodies: Film Stars and Society. London: BFI, 1986. Gamson, Joshua. Claims to Fame: Celebrity in Contemporary America. Berkeley: University of California Press, 1994. Gamson, Joshua. “The Assembly Line of Greatness: Celebrity in Twentieth-Century America.” Popular Culture: Production and Consumption. Eds. C. Lee Harrington and Denise D. Bielby. Oxford: Blackwell, 2001. 259-82. Hill, Annette “Big Brother: The Real Audience.” Television and New Media 3.3 (2002): 323-41. Holmes, Su. “’All You’ve Got to Worry about Is Having a Cup of Tea and Doing a Bit of Sunbathing…’: Approaching Celebrity in Big Brother.” Understanding Reality TV. Eds. Su Holmes and Deborah Jermyn. London: Routledge, 2004. 111-35. Holmes, Su. “But This Time You Choose!: Approaching the Interactive Audience of Reality TV.” International Journal of Cultural Studies 7.2 (2004): 213-31. Holmes, Su. “Reality Goes Pop!: Reality TV, Popular Music and Narratives of Stardom in Pop Idol.” Television and New Media 5.2 (2004): 147-72. Jones, Janet. “Show Your Real Face: A Fan Study of the UK Big Brother Transmissions (2000, 2001, 2002).” New Media and Society 5.3 (2003): 400-21. King, Barry. “Embodying an Elastic Self: The Parametrics of Contemporary Stardom.” Contemporary Hollywood Stardom. Eds. Thomas Austin and Martin Barker. London: Arnold, 2003. 29-44. Lovell, Alan. “I Went in Search of Deborah Kerr, Jodie Foster and Julianne Moore But Got Waylaid…” Contemporary Hollywood Stardom. Eds. Thomas Austin and Martin Barker. London: Arnold, 2003. 259-70. Marshall, P. David. Celebrity and Power: Fame in Contemporary Culture. Minnesota: U of Minnesota P, 1997. Turner, Graeme, Frances Bonner, and P. David Marshall. Fame Games: The Production of Celebrity in Australia. Cambridge: Cambridge UP, 2000. Citation reference for this article MLA Style Holmes, Susan. "'The Only Place Where ''Success'' Comes before ''Work'' Is in the Dictionary...?': Conceptualising Fame in Reality TV." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/07-holmes.php>. APA Style Holmes, S. (Nov. 2004) "'The Only Place Where ''Success'' Comes before ''Work'' Is in the Dictionary...?': Conceptualising Fame in Reality TV," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/07-holmes.php>.

The Creative City Unlike the terms ‘creative industries’, which nobody ever quite understood, and ‘creative class’, about which actual ‘creatives’ were always ambiguous, the ‘creative city’ has been an incredibly successful global policy meme, to which cities across the world continue to aspire. From the early 1990s, faced with de-industrialisation, rising unemployment, and the increased global mobility of capital, professionals, and consumer-tourists, the ‘creative city’ became an essential part of the new urban imaginary for politicians, planners, local growth coalitions, and advocates and practitioners in art and culture. In the later 1980s and early 1990s, much of this policy and practice work had progressive intent; as decaying parts of the city acquired new artistic and cultural uses, and neo-bohemian lifestyles and pop-cultural aspirations seemed to provide the grounds for future-oriented urban identities. Whilst investment in iconic cultural buildings and refurbished heritage sites repositioned cities as destinations for global tourism and finance (Peck et al.), new forms of creative production would provide employment and catalyse the wider urban economy. The creative city was to be a benign economy of innovative small businesses, working in projects and acting in symbiosis with the transformed urban landscape of the city (Pratt; Scott). If at first such a “creativity fix” (Peck, Creativity) was permeable to new actors and radical visions, it rapidly became a codified “cookie cutter” approach (Oakley), primarily concerned with revalorising decaying urban built stock as ‘vibrant’ spaces for upmarket urban consumption. This has stretched from visual arts to popular music (Bennett; O’Connor Music). The “creative imaginary” of entrepreneurial subjects—working in flat networks clustered around zones or milieux of intensified creativity (O’Connor and Shaw; O’Connor and Gu)—was quickly localised in spaces of real estate-led consumption, with production corralled into the ‘managed workspace’ whose image value—a shiny ‘creative hub’—was usually worth far more than any actual production taking place inside of it (O’Connor, Art). From the turn of the millennium, this global “fast policy” flowed through elite circuits of ‘policy transfer’ (Peck, Scale): unevenly distributed nodes assembling politicians, public administrators, planners, ‘cool’ developers, cultural consultants, branded arts institutions, and creative ‘thought-leaders’ (De Beukelaer and O’Connor). Global agencies such as UNESCO, through its Creative Cities Network, or consultancies such as Charles Landry and BOP, have attempted to frame this in a benign narrative of ‘hands across the ocean’ cultural globalisation. But we now know from two decades of creative economy proselytising that culture is a “driver and enabler” of development, not a normative standard against which it might be judged. And however inclusive ‘culture’ is made to sound, the creative city agenda remains firmly in the hands of local elites attempting to harness global flows of finance, media images, tourists, and ‘creatives’ for local development opportunities (Novy and Colomb; Courage and McKeown). By 2008 the creative city was already in trouble, as an increasingly brutal wave of gentrification came to be seen as the necessary corollary of the gleaming images of creative clusters, hipster hangouts, and iconic arts infrastructure. Predicated on a “spatial fix” (Harvey) for the decaying landscapes of the industrial city, the creative city was already producing its own ruins, as culture-led investment projects failed (Brodie). Since 2008, as the paper-thin walls between art, creativity, and real estate capital dissolved, it became increasingly clear that, though the script remained, the utopian moment was dead and buried. For many critics, both inside the cultural sector and out, it was time to roughly bundle it into the catch-all of neoliberalism and ‘gentrification’ and throw it overboard. Creative City RIP. The Ordinary City This critical take was performed early on by geographers such as Ash Amin and others (Amin and Graham; Amin, Massey, and Thrift), who suggested we re-centre the ordinary city—the one in which most people live—rather than fetishise some high-growth, hi-tech, gleaming Creative City. It was reiterated more recently by the Foundational Economy Collective, who argue that it is the everyday infrastructures and services of our towns and cities—and their mundane local economies of nail bars, cafes, and auto-repair shops—that should form the basis of our urban economic thinking (FEC). Jamie Peck, an early critic of the Creative City, had already cast doubt on the real economic weight of ‘creative industries’ and saw the whole thing as cover for the ‘entrepreneurial (read: neoliberal) city’, and a new kind of culturally-inflected growth coalition (Peck and Ward; Peck, Struggling). Similar dissent could be found amongst those writing within the cultural field. For every new city on the global creative smorgasbord, there were local artists and community activists who could show you a whole other side, excluded from the glass boxes and white cubes, from the funding and the hyped-up narratives lavished on the creative city. This mostly targeted the big iconic developments, led by global brands sucking the funding and the imagination from the surrounding city—what we might call ‘the Bilbao effect’. This cynicism toward the Creative City overlapped with a rejection of a ‘high art’ establishment and its elitist forms of culture. The ‘ordinary city’ here did not set the mundane against art and culture but reframed these as part of an everyday creativity. This could mean small-scale, neighbourhood-embedded art and culture, proposed by those in favour of ‘community arts’ and indeed those seeking localised popular culture such as music scenes. But it could also mean a valorisation of creativity writ large; a generalised urban creativity in which imagination and experimentation, but also subversion and contestation permeate the everyday. Following the Global Financial Crisis (GFC), critiques of the creative city concept became increasingly common. Oli Mould’s 2015 book Urban Subversion and the Creative City captures much of this, providing a distinction between the capitalised Creative City and the lower-case creative city. Mould distinguishes between the ‘Creative City’ ideology as extractive, and the ‘creative city’ as enabling citizenship. For Mould, the Creative City is “the antithesis of urban creativity” (Urban 4), and “shorthand for the capitalistic, paradigmatic (bordering on dogmatic) and meta-narrative view of how creativity can be used to economically stimulate and develop the city” (5). It is top-down creative planning at its worst. Against this, Mould evokes the lower-case concept of creative city, seeing some hope for it as a descriptor of urban spaces where “being creative is the very act of citizenship” (5). The Creative City imposed itself as a requirement of urban economic competitiveness (successful or not) and needs to be implacably opposed. Alternatively, the creative city persists in various forms of ‘urban subversion’, though whether the actual term—like creativity itself (Mould, Against)—can be freed from an association with its capitalised nemesis is, for Mould, still moot. Whilst Mould’s distinction allows us to evoke an urban creativity distinct from the commodified, extractive forms of the Creative City—one rooted in the ordinary, everyday creative practices of the city still open to themes of subversion and contestation centring cultural labour over cultural infrastructure—we also have some reservations. The C/creative couplet recalls de Certeau’s opposition of strategy and tactics, skyscraper and street, and has some of its problems. Baldly, this gives control of the city over to the powerful and condemns the rest of us to a game of endless evasion and subversion. For whilst the contemporary Creative City agenda may be largely as Mould describes it, its provenance is more complex than the extractive agenda which currently animates it. Understanding this provenance might give us some pointers beyond this binary impasse. Roots of the Creative City Although the Creative City eventually became integrated into the neoliberal urban script, the policy imaginary that birthed it emerged from the post-1960s rise of urban social movements, anti-development coalitions, new cultural practices (especially around popular music), artist co-ops, squats, and alternative cultures. Across the 1970s and 1980s one might say the C/creative City was an aspect of growing claims for cultural citizenship, the more explicit acknowledgement of a cultural dimension within T.H. Marshall’s ‘social citizenship’ (Marshall). The Greater London Council (GLC) of 1979-86 is exemplary here (Bianchini; Hatherley), but this was only the most visible case in which de-industrialising cities acquired aspirations to a different kind of city living. The utopian-romantic vision of a new kind of urban culture in which the transformative powers of art would abandon the ethereal world of the museum-gallery and take carnal form in the grotesque ruins of an industrial city was most literal in Wim Wenders’s 1987 film Wings of Desire. It was there in Berlin and New York as it was in Melbourne and Manchester, and a hundred other such cities (Whitney). As an industrial urban civilisation no longer seemed viable in the Global North, ‘culture’ became a central stake in anticipating what might come next. What new forms of working and living might be possible? What new identities, pleasures, desires might it accommodate? A new generation, immersed in what Mark Fisher called ‘popular modernism’ (Fisher), sought new forms of artistic expression within popular culture, making demands on the formal cultural system, on the infrastructure of the city, and on how the city could be re-imagined. In short, the C/creative City was not simply an invention of neoliberalism. It carried within it a utopian promise that should not be discounted. Perhaps we can see this in that most vilified of concepts, the ‘creative class’. The (Not-So) Creative Class By the 2008 GFC, the concept of the ‘creative class’—positioned as the primary driver and beneficiary of the creative city—was already coming apart. Unaffordable housing, rent hikes, rising debts, welfare cuts, reducing returns to ‘educational capital’ and the dominance of asset economies, precarious employment, culture budget cuts, and the integration of large sections of creative production into new platform economies have accelerated since that time. Global development capital has now built high-end leisure, entertainment, accommodation, and amenities into its core business model, one that does not require a prior process of valorisation by local creatives. Mould suggests the Creative City was a Trojan Horse and the creative class the Greeks inside (Urban 8). But whilst policymakers and city marketers embraced this term, it was never a class for-itself, with the clear strategic focus of soldiers waiting to pounce. Florida’s statistical fantasy netted a massive chunk of the population—almost 40 percent—as ‘professional, managerial and scientific’ (Florida, Rise). Meanwhile actual ‘creatives’ were always a poor relation and lived very differently to those others, most of whom preferred the suburbs and ex-burbs to the bustling city. Artists were not the storm-troopers of gentrification but its dupes, eventually evicted from the city they helped conquer. Meanwhile, since the advent of Florida and Landry, developers didn’t even need to use these ‘storm-troopers’ to soften up places for gentrification. They could now work directly with compliant city authorities to do the work for them. Creative cities could be deployed by toolkit (Landry) and, of course, measured via economic impact studies and a variety of other econometrics weaponised by corporate consultancies for hire. This was the social and political landscape upon which the Global Financial Crisis dealt an especially severe form of austerity, disproportionately affecting the cultural sector, and exacerbating many of the problematic areas of ‘creative city’ policy that had previously been abated and ameliorated by a veneer of hipster cool. Nonetheless, the ‘creative class’ also articulated a utopian promise, especially in places outside of the ‘Global North’ where more traditional forms of political power, gender roles, and religion remain in play. In a period of rapid globalisation, as relatively insulated economies became integrated into global capital flows, and cities bore the brunt of disruptive social and cultural changes, the C/creative City could stand in for a global modernity with a future. It could make available a new set of aspirations and identities; for a younger, more educated few perhaps, yet still real despite this. De Beukelaer, in the Indonesian context, talks about the “productive friction” between the two C/creative Cities, where the gap between the universal abstract and the local reality can form a site of negotiation. The C/creative City licences an encounter between new aspirations and identities, and the more traditional elites; an unequal struggle to define or give further content to the neoliberal nostrums of creative modernity that emanate from the Creative City meme. Yet it is not clear just why this negotiation is only made possible by the ‘apolitical’ notion of ‘creative’, or what’s at stake in that term. Is it a merely a cypher—or McGuffin—for a more complex conflict of interests? In what form would the “re-politicisation” of the creative city, called for at the end of the article, consist? What Next? We are not then talking about The City & the City (Mieville), in which two cities occupy the same geographic space but codify their separation by routinely ignoring each other and that which is deemed to belong to the other city. They are always in some kind of negotiation and contestation, but around what? We would argue that the imaginary of the C/creative City was annexed by, but not necessarily created by, neoliberalism. If the C/creative City articulated a future beyond a Fordist industrial civilisation, then we must take care in rejecting it not to abandon at the same time the power to imagine a different future. So, too, in attempting to assert the ordinary everyday city, we must also keep hold of a sense of the creative imagination that art and culture articulates, rather than dismissing this as part of the shiny glass palace on the hill. The absence of art and culture from the new progressive social and economic agendas that are currently finding their way into the mainstream—green new deals, doughnuts, well-being, community and ecological economics, and so on—is telling (O’Connor, Reset). In part this reflects the capture of arts and cultural policy by neoliberalism. This is not just ‘economic rationalism’ or market fundamentalism, for in the ‘creative economy’ art and cultural policy fused with neoliberalism at a deep DNA level, and the creative city imaginary was part of this. Mould is right to doubt whether the notion of ‘creative’, so closely enmeshed, could ever be retrieved. But regardless of whether art and culture have been condemned by this close association, the collapse of its romantic-utopian promise into a consumer leisure economy has left a void. If Jameson’s contention that we cannot think the end of capitalism is no longer the case (Jameson; Morozov), then culture is not present at this new moment of transition. So much well-being, community, and ecological economics speaks of culture whilst barely naming it. For us, the rearticulation of the place of art and culture in the contemporary city is crucial. We would even suggest that without art and culture, a full transformation of the contemporary city would be impossible. But how to think this? Any democratic cultural policy would need to reclaim both the ordinary and the creative city. This would entail the creative city of dissent and subversion, so closely aligned with the broad social movements to which we must look, in large part, to transform the city. It would also mean the right to a full participation in the imaginary of the collective city in which we all dwell and where we can imagine different futures. For this to happen, art and culture needs to be taken out of the hands of real estate, tourism, and economic development, and reframed as part of public service and public value. Just as new movements seek to reframe economic growth in terms of sustainability, equity, and human flourishing (Raworth), a radical creative city would be one in which art and culture were constitutive of the social foundations and part of how we live together as citizens, not simply another engine of the consumption economy. This process of re-embedding art and culture in the everyday foundations of the ordinary city is certainly underway. The ‘new municipalism’ (Thompson) has begun to make space for culture, with cities such as Barcelona and organisations such as the UCLG making a lot of the running. Notions of cultural rights, both individual and collective, have returned to challenge the urban consumption model. Just as art and culture try to position themselves alongside other foundational services—health, education, welfare—they also need to engage with new approaches to urban design, where technologies and infrastructures have been repositioned as cultural rather than technological. This suggests both that art and culture engage with the wider ‘cultural’—as in the anthropological, ‘whole way of life’—but that it no longer ‘owns’ this culture. Art and culture are not to be seen, as in the 1980s, as the ‘key’ to a total social transformation, but as one element only, however crucial. So too ‘creative’ needs to be unpicked and reframed, away from its association with ‘progress’ and absolute self-creation towards ‘slowdown’ (Dorling), sustainability, custodianship, care, incrementalism, and restoration – the kinds of values we now associate with First Nations. The shared DNA between creativity and capitalist modernity runs deep. Conclusion The COVID-19 pandemic has devastated large areas of art and culture, putting a question mark next to the urban use patterns that underpinned so much of the creative city model (Banks and O’Connor; de Peuter et al.; Tanghetti et al.; Whiting and Roberts). The Creative City of consumption, commuting, tourism, and entertainment stopped. Though some construction continued, the very purpose of the city centre—which over three decades had been rebranded as the Central Business District—was called into question. But the creative city was devastated too. Not just the collapse in income for cultural workers and business owners, but so too the filigrees of creative connection, the rhizomic mica that underpin the ecosystem of the city. Creatives already made no money, but at least they could go to openings and stay out late. Not anymore. This knockout blow was followed by the recognition that, for all the creative rhetoric, it was construction spending that counted most towards cultural funding budgets (Pacella et al.). Whilst talk quickly became one of getting artists and creatives to kickstart urban activity and animate deserted main street properties—‘build back better’—it is not at all clear where this endless supply of artists is going to come from. Now might be the time to explore how we might rethink art, culture, and the city rather than business as usual. As Arundhati Roy suggested, “nothing could be worse than a return to normality. Historically, pandemics have forced humans to break with the past and imagine their world anew. This one is no different. It is a portal, a gateway between one world and the next” (Roy). If art and culture don’t form part of that search for the new world, they will end up simply defending this one. 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