evidence not only of the life of particular anthologies but of the recent situation of English comics in general. Gifford’s Ally Sloper (1976–1977) and Gravett and Stanbury’s Escape (1983–1989) embody the contradictory possibilities for creating comics
The article argues that the significance of the nineteenth-century comics character Ally Sloper cannot be understood without reference to the parallel career that this fictional celebrity developed across other media, most notably music hall. The history and evolution of the textual character, and of his various incarnations on stage and screen, are chronicled, with the aim both of documenting the expansion of working-class leisure culture and of demonstrating the centrality of Sloper to the development of a specifically British theatrical tradition that moved away from earlier continental models. Contemporary responses to Sloper, including moral outrage, are discussed, and the article concludes by analysing the skilled commercial exploitation of the character which would influence later practices in the twentieth and twenty-first centuries.
This article is about why moral praxis matters, and how it matters. My textual focus is Sartre’s unpublished and undelivered 1965 Cornell Lectures on ‘Morality and History’. In these Lectures, Sartre presents his mature understanding of moral praxis with a degree of systematicity not found elsewhere in his writings on the topic. Staying close to the idiom of the lectures, then, I discuss the materiality of the ‘ethical normative,’ and the historical efficacy of ‘moral conducts’. The discussion moves from a phenomenological account of normativity, temporality, and creativity, to a dialectical account of their generative interaction, which Sartre names, somewhat ambiguously, ‘ethos’. Sartre’s descriptions and analyses paint a picture of ethos as manifest through moral praxis. Moral praxis exists where ethical exigencies are taken up across time through creative invention, and ethos, as manifest moral praxis, results (for good or ill) in a transformation of the practical field.
Matthew C. Ally
This essay revisits the question of Sartre's method with particular emphasis on the posthumously published Notebooks for an Ethics, Critique of Dialectical Reason (Volume II), and “Morale et histoire.” I argue that Sartre's method—an ever-evolving though never seamless blend of phenomenological description, dialectical analysis, and logical inference—is at once the seed and fruit of his mature ontology of praxis. Free organic praxis, what Sartre more than once calls “the human act,” is neither closed nor integral, but is rather intrinsically open-ended and integrative. Thus a philosophical method that seeks at once to illuminate human experience and human history must itself be both a reflection and inflection of the essential openness and integrativity of praxis itself. In the conclusion, I argue that the openness and integrativity of Sartre's method are its core strengths and the sources of its continued philosophical worth.
Matthew C. Ally
Joseph S. Catalano, Reading Sartre. Cambridge: Cambridge University Press, 2010. 213pp., $25.99 (paperback) ISBN 978-0-521-15227-3; $85.00 (cloth) ISBN 978-0-521-76646-3
Matthew C. Ally
Are these papers about intellectuals? Or are they about racism and colonialism? Are they about Sartre or Fanon or Derrida? “Risks of Engagement” is the title of the panel for which these papers were originally presented. We should think about that. Bruce Baugh quotes Simon Critchley: “Derrida can give no account, in terms of his own philosophical positions, of why he made just the ‘gamble’ he did.” No he cannot, not in terms of his own philosophical positions, nor in terms of anyone else’s.
Recasting the Image of the Post-1945 French Occupation of Germany
In much of the English-language scholarship on the post-1945 Allied occupation of Germany, French officials appear as little more than late arrivals to the victors’ table, in need of and destined to follow Anglo-American leadership in the emerging Cold War. However, French occupation policies were unique within the western camp and helped lay the foundations of postwar Franco-German reconciliation that are often credited to the 1963 Elysée Treaty. Exploring how the French occupation has been neglected, this article traces the memory of the zone across the often-disconnected work of French-, German-, and English-speaking scholars since the 1950s. Moreover, it outlines new avenues of research that could help historians resurrect the unique experience of the French zone and enrich our appreciation of the Franco-German “motor” on which Europe still relies.
Since the mid-1980s Italy’s relations with the United States (US)
have been characterised by occasional periods of tension, usually
following some unilateral American initiative in the Mediterranean.
At the beginning of 1999 it seemed that the two countries
were again on a collision course. The US was uneasy about Italian
diplomatic overtures to Iran and Libya. Italy, for its part, ignored
American advice that it extradite Kurdish nationalist leader Ocalan
to Turkey where he was wanted for terrorist activities, and it
repeatedly and publicly expressed strong reservations about the
rationale and effectiveness of the periodic Anglo-American bombing
of Iraq. Then, in early March, came the verdict of an American
military court acquitting the pilot responsible for the Cermis accident
of February 1998. The Italian government, backed by practically
the whole of parliament, reacted by calling for a review and
possible re-negotiation of the treaty regulating the use of NATO’s
military bases in Italy.
Theoretical and Practical Insights from the Two Row Wampum Renewal Campaign
Brooke Hansen and Jack Rossen
As participants in the epic Two Row Wampum Renewal Campaign of 2013, we explore our experiences as allies and activist anthropologists in a collaborative venture that involved Haudenosaunee leaders, community members, diverse organisations
Simon Grennan, Roger Sabin and Julian Waite, Marie Duval (Oxford: Myriad Editions, 2018)
With Marie Duval, virtual creator of the ineffable Ally Sloper (first appearance 1867) and mainstay of a new magazine named Judy founded that year, we find a new kind of cartoon character, a new kind of caricature and a new kind of journal