Urban allotment gardens constitute urban natures with a rich history as well as potential public redevelopment land. While many cities in Europe struggle to protect allotment gardens from competing land-use forces, in Copenhagen, allotments are classified as valuable urban nature and enjoy special protection. We analyze the social and political conditions and consequences of this unique situation. Taking a closer look at the governance arrangements and what we refer to as asymmetric civic-public compromises enabling the protection, we show how this is resulting in new material conflicts between civic and municipal actors. We argue that the conflicts are related to the unresolved issue of competing visions of civic, green, and market sustainability shaping contemporary urban development in Copenhagen and beyond and which are starkly revealed within allotment gardens.
Asymmetric Valuation Compromises and Civic-Material Tensions in Copenhagen Allotment Gardens
Nicola C. Thomas and Anders Blok
The Case of the Swedish Greens
Devin K. Joshi
Green parties were once hailed as offering a “new politics” vis-à-vis the political establishment by proposing radical political, economic, and environmental reforms, but they have since transformed in many countries to become more moderate and pragmatic. While some doubt whether their ideology still contains any essential core, I contend that a unifying link can be found in the philosophy of the Daoist sage Laozi. I illustrate this by analyzing the party program of Miljöpartiet de Gröna (Sweden’s Environmental Green Party), one of the world’s most electorally successful green parties. As demonstrated here, this green party’s current ideology strongly reflects key imperatives of Daoist political ecology revealing the philosophy’s durability and attractiveness over time and its perceived relevance to pressing issues of sustainability and climate change.
Shakespeare’s interest in ancient Rome spans the whole of his dramatic career, from Titus Andronicus to Cymbeline, while Roman history and Latin culture permeate the whole of his work, well beyond the explicitly ‘Roman’ plays and poems. Critical interest has to some extent shifted from the historicist Roman plays based on Plutarch, Julius Caesar and Antony and Cleopatra, and the pseudo-historical Coriolanus, to the outlying Roman plays that evidence greater generic diversity and stylistic innovation, the early Senecan tragedy Titus Andronicus and the late ‘British’ romance Cymbeline. In these latter plays, the complex interactions between past and present, that are the main subject of the formal histories, are presented with even more aesthetic flexibility and creative improvisation than the ‘Roman plays’ proper.
A Biocultural View
Daniel Gaudio and Mauro Gobbi
Disappearing glaciers are one of the most evident signals of climate change of the current period in Earth’s history, the Anthropocene. In this article, we discuss the side effects of the glacier melt from a biocultural standpoint, moving from the Southern European Alps to a global context. Specifically, we highlight what we are losing from a cultural and naturalistic perspective but also, paradoxically, what we could “gain” if we were able to understand more deeply, and with an interdisciplinary approach, glacial dynamics and their role for human society. Glaciers can teach us several stories, but we are quickly approaching the last chance to listen to them.
Campanology under COVID-19
Throughout 2020 and 2021, bells have rung in a variety of COVID-related rituals in the West, ranging from large-scale religious and civic rites, to ad hoc neighborhood and hospital initiatives, to anti-racist memorials that simultaneously spoke to the health crisis at hand. Taking stock of how these COVID bell-ringing rituals were formalized, their structures and actions, and the historical precedents from which they drew their meanings, this article investigates what the sounds of bells and the rituals of bell-ringing communicated about COVID, how they shaped our personal and collective experiences of the crisis, and what functions they were expected to serve during this liminal period. It reveals how, owing to the historical polysemy of bells on the one hand and the social uncertainties of living with COVID on the other, those rituals generated vivid symbolisms and mobilized powerful emotions that sometimes brought about unintended consequences.
Shakespeare’s ‘Fatal Cleopatra’ and the Worm’s Turn
Roger Stritmatter and Shelly Maycock
This article offers a reading of the famously problematic scene 5.2 of Antony and Cleopatra, in which Cleopatra prepares to meet her death by the bite of the ‘worm’ (5.2.233–290). In this scene, and this scene alone, the Egyptian asp is called by the Anglo-Saxon term ‘worm’ nine times. Repetition, suggests Frankie Rubinstein, may in Shakespeare be a sign of a pun. Samuel Johnson characterised the homophonic resonance of punning as ‘Shakespeare’s Fatal Cleopatra’, but Rubinstein insists that for Shakespeare ‘“reason, propriety, and truth” were not sacrificed by the Shakespearean “quibble” but emerge from it’. In Antony and Cleopatra, punning is one key linguistic expression of the play’s entwinement with the principles of alchemical transmutation and preference for ‘becoming’ in the ancient dichotomy between being and becoming. As Richard Whalen first proposed in 1991, the ninefold iteration of ‘worm’ in the scene may be a pun on an Aristocratic French name, since the word ‘worm’ in French is Ver.
This article revisits one of Shakespeare’s later, often rather neglected, plays. Shakespeare is thought to have written Cymbeline in 1609 or 1610, at much the same moment, it is commonly surmised, as other so-called ‘problem’ plays such as Pericles and The Winter’s Tale. Critics have rarely enthused over Cymbeline, lacking an obvious lead character, the action moving unsettlingly between Roman Britain and Renaissance Italy. Cymbeline has, though, something important to say about the constitutional politics of Jacobean England. King James I liked to style himself as the ‘new Augustus’. He also liked the absolutist idea of kingship which he discovered in his reading of the ‘old’ Augustus. In writing Cymbeline, Shakespeare sought a delicate balance, paying homage to the affinity, whilst also cautioning against uncritical reliance on Roman conceptions of magistracy.
This article explores the chaotic violence in Nathaniel Lee’s tragedies, which, while clearly originating in the sovereign, by its sheer excess and blindness, is hypostasised as a motor of history. In Lee, violence is a reflection of the political anxieties surrounding the Exclusion Crisis but it is also intrinsic to the way he understands the nature of political life; in reality, it is constitutive of the very exercise of power. Drawing on Giorgio Agamben’s Homo Sacer I argue that sovereign violence is inscribed in a most savage form as the very foundation of the civil community, and, therefore, its autonomisation, as in Lee’s early plays, is only apparent. In Lucius Junius Brutus: Father of His Country (1680) the extreme sovereign assault on human life fully discloses its politically defined character because it is emblematically performed in the name of the institution of a new body politic, the Republic.
The Japanese director Ninagawa Yukio, who directed all four of the Roman plays between 2004 and 2014, noted the challenge he faced in making Shakespeare’s Roman settings accessible for native audiences, his typical strategy being Japanisation. Ninagawa’s Brechtian strategy works two ways in offering audiences a helpful perspective on cultural difference while harnessing Shakespeare’s humanism to the anti-rational energies of his theatre that modernity had earlier suppressed. This article explores the mythopoeic aspect of Ninagawa’s project first in the context of comparative religion and then with an analysis of his Antony and Cleopatra (2011), which was innovative in casting a Japanese-Korean actress from the western Kansai region as Cleopatra against an established Tokyo actor. The polytheism that native Shinto has in common with ancient Roman religion is a significant subtext.
Understanding Conflicts and Frictions in Dutch Flood Protection
Nadine Keller, Barbara Tempels, and Thomas Hartmann
The OECD Water Governance Principles provide a guideline for good water governance. However, these principles can conflict with each other when applied in practice. This contribution aims to understand which dilemmas arise and how such conflicts play out. It is explored in an in-depth case study on Dutch flood risk management in which conflicts between the principles emerge when applied to flood risk management practice. Interviews with water managers were used to collect data on which principles contradict each other and how these conflicts work out in practice. The study reveals that although the principles seem obvious, some principles indeed clash when applying them, while others do not lead to conflicts. Principles on efficiency, trust, and engagement have high potential for conflicts.