Comics, and in particular European comics, has always engaged with the social world, whether to contest or to uphold its norms. From its antecedents in eighteenth- and nineteenth-century caricature, it inherited a strong current of satire and critique. In the adventure genre that marked the emergence of European comics in its modern form in the first part of the twentieth century, engagement with the world was no less evident, but most often served, rather, to defend the dominant order, colonial or anti-communist, as heroes set off to right wrongs in far-flung places.
Comics, the Social World and Challenging Consensus
un mal français
Les deux dernières décennies de la chronique politique française ont été caractérisées, entre autres, par l’éclosion incessante d’« affaires » mettant en cause la probité des dirigeants. Les « scandales » à répétition qui émaillent désormais le débat public en ont profondément affecté la nature. Cet article ne prétend pas proposer une interprétation d’ensemble du phénomène. Il se contente, sur la base des observations de l’auteur, d’avancer quelques pistes de compréhension de cette « corruption » à la française. Nous nous limiterons ici à la sphère proprement politique, même si les « affaires » de ce genre n’épargnent évidemment pas les domaines administratif et économique.
Pour étudier le débat public sur la reconnaissance des unions de même sexe, la comparaison transatlantique nous confronte à un paradoxe1. D’une part, pendant les années 1990, la référence aux États-Unis est systématiquement invoquée en France, qu’il s’agisse de genre ou de sexualité, mais aussi d’ethnicité ou de race. D’autre part, durant la même période, en France comme aux États-Unis, on débat publiquement de la reconnaissance du couple homosexuel : on parle ainsi en même temps de choses comparables des deux côtés de l’Atlantique.
Alexander B. Djumaev
The author considers Bukharian musical traditions as multi-cultural phenomena which demonstrate different types of syntheses - pre-Islamic and Islamic elements, inter-confessional cooperation and mutual influences of ethnic groups and peoples living in the city. Various factors, such as climatic conditions, traditional architecture and the inclination of its citizens towards musical entertainment, have influenced the development of traditional music in Bukhara. The main genres of musical art are considered in the framework of traditions of urban life. The author sees this trait of Bukharian culture and mentality as reflecting a duality: religiousness but also an intense love of secular pleasures in which music will always play an important role.
This article aims to contextualise music as it was experienced in Tehran in 2004 (when the research for this work was conducted) - music that comes from various ethnic groups within Iran, and music coming from the diaspora. The relationships between various genres of music and people, as well as between music and the government, are examined. The malleability of musicians and their capacity to coordinate their expertise with popular and governmental expectations and limitations are then analysed. In this way, a fascinating yet little studied area in the anthropology of Iran at the time of research is addressed.
This article discusses the genre of family narratives in contemporary German literature against the backdrop of cultural memory in postunification Germany.1 Family narratives lend themselves to a critical study of memory as they enact the transmission and transformation of memories from one generation to the next. Thus, these texts serve a pivotal role as both archives for and reflections on individual and collective memories of 20th century Germany history. Since the late 1990s, i.e., almost a decade after the collapse
Most films, most of the time, are affectively unified. What I call “synesthetic affects” are orchestrated in an attempt to provide a holistic affective experience congruent with the film's unfolding narrative and thematic concerns. Yet Terrence Malick's The Thin Red Line elicits contradictory or incongruent affects, such incongruence neither being justified by genre conventions, “excess,” irony, nor stumbled upon through incompetence. The Thin Red Line elicits incongruent emotions for the purposes of generating an experience of rumination and wonder. The study of such incongruent emotions, still in its infancy, raises important methodological issues about the study of mixed emotions and the conventions for mixing affects in the cinema.
The Classical Union of Athletic and Intellectual Masculinities in Charles Reade's Hard Cash
Marc Milton Ducusin
Charles Reade's sensation novel Hard Cash (1863) ostensibly divides the qualities of athletic and intellectual prowess between its two main male characters, the Oxford rower Edward Dodd and the more academically inclined Alfred Hardie. Their contrasted pairing iterates the sensation genre's trope of doubled identities, while Reade's depiction of their respective aptitudes draws heavily on Classical ideals of male beauty and philosophical learning. Complicating the dichotomy, Alfred increasingly comes to embody the need for cohesion of body and intellect, thus illustrating Reade's vision of Oxford as a 'modern Athens' that 'cultivates muscle as well as mind.'
Judeo-Spanish Songs Meet the Twenty-First Century
Judith R. Cohen
The Judeo-Spanish song tradition has experienced many changes in recent years as it enters the 'world music' scene. Change, however, can be seen as a constant feature of the many aspects of Judeo-Spanish song and performance practice. Here, various genres are examined, together with some of the changes they have undergone in repertoire, style and context, and a selection of reactions to changes on the part of Sephardi Jews interviewed over several years. To a large extent, the repertoire has moved from the home to public representation, and is performed more by professional artists with no Sephardi background than by people from Sephardi communities, raising questions of appropriation and representation.
Some Thoughts on Exile as a Dynamic Condition
Exile is a strong marker of identity for a writer, but to keep it forever as part of one's self-image surely involves a kind of mis-description, or at least over-simplification. Maintaining the position of being in exile also has its dangers: the posture of detachment can turn into a kind of wilful separation. Moreover migration, dislocation, various kinds of nomadism are becoming the norm, but this extreme mobility relativises even the most stable identities. What styles, or stories, or genres will be invented to describe a world which is no longer divided between peripheries and centres?