This article examines the 1994–1995 controversy surrounding President François Mitterrand’s past involvement with Vichy France through the concept of “the gray zone.” Differing from Primo Levi’s gray zone, it refers here to the language that emerged in France to account for the previously neglected complicity of bystanders and beneficiaries and the indirect facilitation of the injustices of the Vichy regime. The affair serves as a site for exploring the nuances and inflections of this concept of the gray zone—both in the way it was used to indict those accused of complicity with Vichy, and as a means for those, like Mitterrand, who defended themselves by using the language of grayness. Paying attention to these invocations of the gray zone at this historical conjuncture allows us to understand the logic and stakes of both the criticisms of Mitterrand and his responses to them, particularly in terms of contemporaneous understandings of republicanism and human rights.
You are looking at 71 - 80 of 10,478 items for
Toward an Explanation of Inconsistencies between Framing and Policies
Henri Bergeron, Patrick Castel and Abigail C. Saguy
The French news media has framed “obesity” largely as a product of corporate greed and social inequality. Yet, France has—like other nations including the United States—adopted policies that focus on changing individual-level behavior. This article identifies several factors—including food industry lobbying, the Ministry of Agriculture’s rivalry with the Ministry of Health and alliance with the food industry, and competition with other policy goals—that favored the development of individual-level policy approaches to obesity in France at the expense of social-structural ones. This case points to the need to more systematically document inconsistencies and consistencies between social problem framing and policies. It also shows that national culture is multivalent and internally contradictory, fueling political and social struggles over which version of national culture will prevail at any given moment.
The Building of a Free Commonwealth in Spinoza's Political Treatise
The aim of this article is to discuss how Spinoza’s Theological- Political Treatise and Political Treatise deal with the development of a free and pacific commonwealth, taking into account both a comparison with the irenic tradition of Erasmus and the original position of Spinoza’s republicanism within the Dutch context of that period. To approach this issue, comparing Spinoza’s idea of security with the Hobbesian one can also be useful in order to demonstrate that security and freedom are not antithetical in Spinoza (differently from Hobbes) but rather support each other. Consequently, the role of peace and concord within the Political Treatise shall be considered the result of a collective self-emendation process of social interactions and political institutions. In this perspective, Spinoza’s concept of peace seems a very original attempt to build a free political community, where democratic institutions are both the cause and effect of pacific (i.e., rational and harmonious, although not necessarily irenic) relationships among citizens.
Richard A. Lee Jr.
In Defensor Pacis Marsilius of Padua grounds the legitimacy of the kingdom, or the state (civitas), on the peace that rule provides the citizens. Looking at Aristotle’s claim that the civitas strives to be like an animal in which all parts in the right proportion for the sake of health, Marsilius argues that ‘the parts of the kingdom or state will be well disposed for the sake of peace [tranquilitas].’ Marsilius goes on to define peace as the agreeable ‘belonging together’ of all members of the kingdom or the state. In this way, Marsilius moves away from a theological ground of the legitimacy of the state towards one that is entirely secular. However, the ground is an unstable one in that it acknowledges the fact that the ‘members’ of the body politic are characterised by difference. As such, the ground of legitimate authority will be characterised as much by force as by peace or by the relation of force to peace.
Hamlet as a Material Object
This article challenges A.W. Pollard’s foundational distinction between good and bad quartos, which confuses ethical and bibliographical categories. Some quartos are badly inked, or printed on poor-quality paper. But Q1 Hamlet is a professional, well-made commodity. Zachary Lesser has conjectured that Q1 sold poorly, and has claimed that the similarity of the title pages of Q1 and Q2 supports that hypothesis. But both title pages are typical of Ling’s books, and their similarities are no more remarkable than those in Ling’s different quartos of Michael Drayton’s poems. Q1 Hamlet apparently sold more quickly than Q2. Using D.W. Winnicott’s theories about the ‘good enough mother’ and ‘transitional objects’, we can identify Q1 as a ‘good enough quarto’.
The Authorship and Date of the First Quarto of Hamlet
Ever since the discovery of the first quarto of Hamlet (Q1) in 1823, it has generated fierce debate among scholars about its origin. Recently, Terri Bourus has written a powerful book-length argument that Q1 was indeed by Shakespeare, as its title page states, and that he wrote it by 1589. The present article bolsters Bourus’s conclusion with a careful look at its title page claims as well as the literary satires of Thomas Nashe, Gabriel Harvey and Ben Jonson. Specifically, Q1’s title page and apparent allusions to Hamlet in the early 1590s pamphlet war of Nashe and Harvey independently confirm an earlier chronology for the tragedy. Jonson also attributes a line exclusive to Q1 to his caricature of Shakespeare in Every Man Out of His Humor (1600). The evidence suggests Shakespeare had written Q1 much earlier than conventionally assumed and that there was no ‘lost Hamlet’.
Nazera Sadiq Wright. 2016. Black Girlhood in the Nineteenth Century. Urbana, University of Illinois Press.
Black girls have a history of resilience. Nazera Sadiq Wright, in Black Girlhood in the Nineteenth Century (2016), analyzes accounts of the experiences of black girls from what she refers to as “youthful” girlhood to the conscious or “prematurely knowing” (44) age of 18. Setting out to recover overlooked accounts of black girlhood during the nineteenth century, a tumultuous epoch of transition for the black community, Wright uses contemporaneous literary and visual texts such as black newspapers, novels, poetry, and journals to reconstruct this lost narrative. By engaging in a close reading of these texts, in which black people, emerging from slavery, communicated with each other about personal and community goals, Wright examines the ways in which the instruction of black girls operated in between the lines of literature to convey codes of conduct to the black community. She argues that with the emergence of literature written by and for black women, the role of the black girl morphed from docile homemaker to resilient heroine for herself and her people. In discussing this more complex role, Wright does not deny that black girls were vulnerable to multiple forms of violence and hurt, but does point to a more nuanced experience. Black Girlhood in the Nineteenth Century is an intervention into the African American literary canon, filling in many of the gaps in the lost history of black girlhood, making it an essential text for those “who care” (22) about black girls as they engage in the process of rewriting and redeeming the narratives of an often-forgotten population.
Player Tested, Shakespeare Approved
The first or ‘bad’ quarto of Hamlet is the subject of much debate. Is it an early version of the play as some scholars suggest? Or is it corrupted memorial reconstruction, a product of ‘fast writing’ transcription, or just a pirated version of the play rushed into print? In this article I posit that the first quarto is indeed a valid text that deserves to be recognised for its unique, unfussy, playable brilliance. That the text provides clues (if one knows how to look), that elucidate answers to many of the questions that productions must contend with. I believe it to be a time-capsule version of sorts that is a product of what the actors truly performed, rather than a celebration of the poet’s aspirationally complex verse.
The controversies triggered by the Netflix adaptation of Jay Asher’s young adult novel Thirteen Reasons Why (2007) have focused on suicide and downplayed discussions of rape as a central plot device. Making use of stereotypical characters (such as the cheerleader and the jock) and archetypal setting (including the high school), 13 Reasons Why delves into the reassuring world of the suburban town; it deals ambiguously with the entwined notions of gender and power encapsulated in the teenpic genre. A detailed analysis of the series indeed reveals that its causative narrative reinforces the rape myth by putting the blame on girls for events that happen to them. In this article I explore the tensions of a TV series that endorses the rape myth through the entertaining frame of the teenpic.
Remembering and Forgetting World War II Indochina
M. Kathryn Edwards and Eric Jennings
This article analyzes the complex memorial stakes of the events that unfolded in French Indochina during World War II. It first considers the wartime years and analyzes the French frameworks for understanding the Vichy period and the Japanese takeover. It then delves into two memorial trends: the rehabilitation of the French resistance in Indochina and the commemoration of victims of the 9 March 1945 Japanese coup. These trends have produced a double elision: the focus on resistance to the Japanese has displaced previous allegiance to Vichy, and the emphasis on the victimhood of the French settler community has overshadowed responsibility for colonial violence.