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.
abstractions by their function within a poetic genre—the Pindaric ode—whose structure, to a large extent, dictates the meaning of the text. While the history of political thought tends to regard its objects of study as pieces of intellectual property acquired
Sophia Yablonska's Travelogues in the History of Modern Ukrainian Literature
-Soviet version of the history of literature, which also includes Ukrainain literature, is still influenced by the socialist realist model dominated by the idea that the novel is the central literary genre and that it develops one overarching “master plot” (not
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complexities and would have shown that different concepts can remain influential in different spheres and genres. Given the focus of the argument, even more surprising is the absence of specifically capitalist sources, such as those of businessmen or
This article is based on novels written by four widely read and immensely popular Urdu authors: Nazir Ahmad 1 (1830/1831–1912) and Rashid-ul Khairi (1868–1936) are prominent representatives of the domestic novel genre, while Abdul Halim Sharar
East and West
Ann Taylor Allen, Women in Twentieth-Century Europe, New York: Palgrave Macmillan, 2008, 208 pp., $28.95 (pb), ISBN 1-4039-9374-2.
Efi Avdela, Le genre entre classe et nation. Essais d’historiographie grecque (Gender between class and nation. Essays on Greek historiography), Paris: Syllepse, 2006, 205 pp., €20.00 (pb), ISBN 2-84950-045-3.
Françoise Thébaud, Ecrire l’histoire des femmes et du genre (Writing women’s and gender history), Lyon: ENS Editions, 2007, 312 pp., €24.00 (pb), ISBN 978-2-84788-093-9.
Slobodanka Peković, Časopisi po meri dostojanstvenog ženskinja: Ženski časopisi na početku 20. veka (Journals suited for respectable women: Women’s journals from the early twentieth century), Novi Sad-Beograd: Matica srpska, Institut za književnost i umetnost, 2015, 378 pp., RSD 550 (paperback), ISBN 978-86-7946-154-4.
Stanislava Barać, Feministička kontrajavnost: Žanr ženskog portreta u srpskoj periodici 1920–1941 (The feminist counterpublic: A genre of woman’s portrait in the Serbian periodical press from 1920 to 1941), Beograd: Institut za književnost i umetnost, 2015, 436 pp., RSD 1100 (paperback), ISBN 978-86-7095-224-9.
Muslim Women and Public Writing in Habsburg Bosnia and Herzegovina (1878–1918)
This article focuses on the public writings of Muslim women in Bosnia and Herzegovina in the Habsburg period. From the beginning of the twentieth century, several Muslim women, mainly schoolgirls and teachers at Sarajevo's Muslim Female School, started for the first time to write for Bosnian literary journals, using the Serbo-Croatian language written in Latin or Cyrillic scripts. Before the beginning of World War I, a dozen Muslim women explored different literary genres—the poem, novel, and social commentary essay. In the context of the expectations of a growing Muslim intelligentsia educated in Habsburg schools and of the anxieties of the vast majority of the Muslim population, Muslim women contested late Ottoman gender norms and explored, albeit timidly, new forms of sisterhood, thus making an original contribution to the construction of a Bosnian, post-Ottoman public sphere.
The Life and Work of Two Fictitious Hungarian Women Authors
This article re-reads from a feminist perspective and with the interpretative strategies of feminist criticism, two pieces of late-twentieth-century Hungarian literature, Sándor Weöres's Psyché and Péter Esterházy's Tizenhét hattyúk (Seventeen swans). Both books were written by men and both introduce a fictitious woman figure as the author, presenting the text as hers. Both authors also present this material in an archaised language. A multilayered analysis that tackles the implications of the gender shift between the real and the fictitious authors, the genre of the works, their peculiar language use as well as the historical dimensions of conjuring up women authors, leads me to conclude that Psyché and Tizenhét hayúk may qualify as feminist textual practice. They open up the literary historical canon for women authors and, by actualising l'écriture féminine, let the female protagonists express themselves outside the bounds of phallologocentric signification.
Women as Seen through the Media
Renata Jambrešić Kirin and Reana Senjković
This article shows how the model of the ideal patriotic woman, established through propaganda activities between two competitive ideologies in Croatia during the Second World War, have been transformed and adapted to accommodate diverse genres of memory culture from 1945 until the present day. In order to indicate the inter- relation of media-ideological constructs and self-definition, the authors have compared cultural representation models of ‘acceptable’ and ‘obnoxious’ females in war time with ethnographical interviews conducted with women at the celebration of the sixtieth anniversary of the Antifašistički front žena (Women’s Anti-Fascist Front, AFŽ) Istrian Conference in 2004. The contrast between recollections and culturally constructed official memory shows how the memories of women, as autonomous historical subjects, resist the imposed collective amnesia on the anti-fascist movement, although these women also leave many ‘unsuitable truths’ untold about their subordinate role within the anti-fascist movement.