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Nathaniel Lee's Politics of Sovereignty

Aspasia Velissariou


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.

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The Different Meanings of “Film Form”

Melenia Arouh


The appreciation of form is a common preoccupation in aesthetic analyses of films. The concept of form, however, has traditionally troubled philosophers of art, and although its meaning and significance have been debated throughout history, a common understanding is not always easy to discern. This article reviews certain ambiguities regarding “form” in film aesthetics through an examination of the uses of the word, especially in relation to content, medium, and style. Through this discussion, both the significance of the word is explained, but also the type of analysis it allows for.

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Beyond Oracular Ambiguity

Divination, Lies, and Ontology in Early Greek Literature

Olaf Almqvist

In the remote mountains off the northern coast of the Gulf of Corinth lies Greece's most renowned oracular center, the Delphic Oracle. The precise mechanism of the oracle remains debated. Ancient and modern reports often describe how the virgin

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[I] ‘did write this Wyll with my own hand’

Simulation and Dissimulation in Isabella Whitney’s ‘Wyll and Testament’

Vassiliki Markidou


This article attempts for the first time to shed light on the politics of simulation and dissimulation in Isabella Whitney's ‘Wyll and Testament’. It also argues that the poem both reflects its creator's awareness of the celebrated English historical and topographical narratives and deviates from them by crucially omitting a seminal part of London's history, namely its Troynovant tradition. In so doing, as well as by defining a paradoxical urban landscape, Whitney presents a tale not of the (mythic) founding of the English capital with its patriarchal and nation-building connotations, but of its (satiric) bequeathal by benevolent femininity, as such offering its reader a different angle from which to explore and interpret early modern London.

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(Re)sounding Histories

On the Temporalities of the Media Event

Penelope Papailias

At 10:30 am on 28 May 1999, an Albanian migrant worker, 24-year-old Flamur Pisli, known in Greece as “Antonis,” boarded a bus in a town at the outskirts of Thessaloniki where he had been living and working for several years. With a Kalashnikov rifle

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Translating the Concept of Experiment in the Late Eighteenth Century

From the English Philosophical Context to the Greek-Speaking Regions of the Ottoman Empire

Eirini Goudarouli and Dimitris Petakos

will investígate the transfer of the concept of experiment from the seventeenth-century British philosophical context to the eighteenth-century Greek-speaking intellectual context. 2 To be exact, we will study the dissemination of the concept of

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Why Does God Get It Wrong?

Divine Fallibility in Athens and Jerusalem

Gabriel Kanter Webber

worshippers were caring for their murtis in what was almost a parental capacity: providing food, shelter, sweet-smelling surroundings, laundry services. (Similar practices took place in Ancient Greek worship 3 and in a number of other religions.) The Hindus

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The Obligation Is the Point

‘Refugee 2 Refugee’ Care and Solidarity in Greece

Zareena Grewal

the name of security. On the other side of Asia, millions of refugees, most of them Muslims, are fenced in detention camps or languishing without asylum or support and concentrated in a bottleneck in Greece and Turkey manufactured by the 2016 European

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Italian alliances between commoning and law

Framing new regulations by challenging rules in Naples

Antonio Vesco and Alexandros Kioupkiolis

The “commons” have become a rallying point of social mobilization against privatization and a linchpin of collective civic empowerment and democratic renewal in several countries. What singles out the Italian “laboratory” of urban commons in recent years is the coalescence of pro-commons lawyers with activists, movements, and grassroots collectives. The central role played by law in the Italian commons network must be read in the light of the distinctive forms that regulations and rules assume in specific contexts. Drawing on ethnographic research conducted between 2018 and 2019, this article focuses on the case of Naples and the reinvention of the legal tradition of “civic use.” Our account of the daily practices pursued by a Neapolitan community of commoners—L’Asilo—delves into the role played by the law and its representatives in a political context that has always been the subject of stigmatization.

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Laughing with, Laughing at

Humour and Revolution in the 2019 Venice Pavilions of Chile and Egypt

Chrisoula Lionis and Alkisti Efthymiou


The autumn of 2019 was characterised by an eruption of global protests, including Lebanon, Iraq, Ecuador, Chile, and Egypt. The velocity with which these protests emerged nurtured a sense that the Global South ‘was on the march’. At the same time as these events were rapidly unfolding, the world's premier mass art exhibition, the Venice Biennale, was in its final weeks. Harnessing discourse analysis, participant observation, and collaborative auto-ethnography, the authors draw together a comparative study of the Chilean and Egyptian pavilions and assess the impact of ongoing and suspended revolutionary histories of both nations. Approaching art as a form of ‘practical aesthetics’ (Bennett 2012) and focusing on humour as an aesthetic quality enmeshed in complex political temporalities, this article analyses the relationship between humour, contemporary art, and revolution, demonstrating how the laughter facilitated by these two pavilions negotiates understandings of national pasts, and uprisings in the present.