This article is a thought experiment. It constructs ideal types of political representation in the sense of Max Weber. Inspired by Quentin Skinner and others, the aim is to give a rhetorical turn to contemporary debates on representation. The core idea is to claim an ‘elective affinity’ (Wahlverwandschaft, as Weber says following Goethe) between forms of representation and rhetorical genres of their justification. The four ideal types of political representation are designated as plebiscitary, diplomatic, advocatory, and parliamentary, corresponding to the epideictic, negotiating, forensic, and deliberative genres of rhetoric as the respective ways to plausibly appeal to the audience. I discuss historical approximations of each type of representation and apply the combination of representation and rhetorical genres to the understanding of the European Union’s unconventional system of ‘separation of powers’. I conclude with supporting parliamentary representation, based on dissensus and debate, with complements from other types.
Literature of the Thirties – Region and Genre
The second special issue on the literature of the thirties follows on from an earlier edition of Critical Survey which brought together new critical writings on the period (volume 10, number 3, 1988). The first four essays selected are responses to regionalism and identity and the last two to the issues raised by the relationships of gender and generic fiction. Simon Featherstone analyses how two popular artistes, Gracie Fields (the ‘mill girl’) and Max Miller (‘the cheeky chappie’) achieved success in an entertainment industry that was changing rapidly in response to technological and cultural pressures. Their stardom depended on the dialogues between regional and national identities as part of a national cultural dynamic during a decade in which mass popular forms reconstituted the older regional and local traditions of dialogue and performance. Steven Matthews sees Auden’s injunction to ‘Consider this and in our time’ as a ‘clarion call to a particular, post-The Waste Land, form of modernity’. Focusing on Scottish and Irish writers (Louis MacNeice, Sorley Maclean, Grassic Gibbon et al.) Matthews argues that the temporality of some thirties’ writing aligns it closely with the emergent nationalisms familiar in recent postcolonial theory.
Comparative Perspectives on Travel Writing and Ethnography
Jörg Lehmann and Thomas Stodulka
How can travel books and narrative ethnography be compared? This article systematically examines the works of an eminent travel writer and an anthropologist with respect to paratexts, themes, lexis, named entities, and narrative positions. It combines quantitative methods with a close reading of three books. The article discusses whether a mixed-methods approach of close reading and quantitative analysis can be applied to comparing larger corpora of travel writing and ethnography.
African-American literature of travel has frequently been elided from critical accounts of literary travel narratives and made invisible within the African-American literary canon. Reading both traditions with an eye to including African-American literature of travel is important because it allows for a greater focus on the transnational roots of African-American identity, particularly in terms of African-American literature of travel that focuses on journeys to Europe.
Genre Imperatives, Gender Consciousness and Status Questioning
In the two and a half centuries of Tokugawa rule (1600–1868) Japan underwent profound transformations of an economic, social, political and cultural nature. What began as an era of warrior rule, of apparently strict application of the law and of theoretically impenetrable social compartments evolved at a fast pace into a time when popular culture attained unprecedented brilliance, the samurai’s identity as fighters was virtually nullified and money often supplanted rank in mediating access to services. In this environment, travel and travel narratives came to play a significant role in the commoners’ gradual assertion of their own personas. Through a confrontation with otherness mediated by cultural precedent and implemented by detachment from the ordinary, the space of travel allowed for alternative creations of the self and re-definitions of the individual in society. Travel, to a great many people of all social standings, offered both a chance for recreation (in the leisure-related connotation of the term) and for re-creation (that is, re-generation, or creation of a new persona). Detachment from one’s pre-assigned social niche offered the possibility to challenge, however momentarily, one’s roles and identity by subtly questioning the parameters of gender and status that defined the individual in the space of the ordinary.
Facts, Fictions and the Invention of a Scientific Discourse in Early Modern Europe
Joan-Pau Rubiés and Francis Bacon
Francis Bacon’s endorsement of travel for the sake of the universal light of knowledge, in his posthumous scientific utopia New Atlantis (expressing his personal aspiration for the foundation of a scientific institution), identifies well the strategic place that travel literature had come to occupy in the culture of early seventeenth-century Europe. Travel literature is certainly not a unique European creation, but its remarkable development throughout the sixteenth and seventeenth centuries was crucial in the formation of a specifically Western discourse on human societies, one increasingly organised around a vision of natural and historical diversity but also tied inextricably to universalist assumptions and aspirations.
The Politics of William Le Queux
exploring the politics of pre-1914 invasion anxieties and invasion-scare fiction, the idea that such literature was fundamentally Tory in quality will be called into question. Instead, this emerging genre of popular fiction will be placed to the right of
Case Study of William Le Queux's The Invasion of 1910 – ‘Not an ordinary “pot-boiler”’
’ German invasion of a disastrously ‘unprepared’ Britain, is generally considered the most influential work in the invasion genre after the main genre-instigator General George T. Chesney's The Battle of Dorking (1871). Although The Invasion of 1910 was
Austro-German Filmmaker, Bestselling Author, and Journalist Colin Ross Discovers Australia
Australia itself, but for the entire Pacific, and even for the faraway Germans. 6 In this way, he reveals the meaning of the slogan “space without people.” Recent theorizations of travel films reject the notion of stable genre criteria, but stress the rich
Shakespeare and the Modern Monarchy
mythos from the start. 36 And the plot of All’s Well , where ‘They say miracles are past’ (2.3.1), until the King and his carer enter dancing, would provide a storyline for an entire genre of royal romances that followed The Madness of King George III