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Heroism, Exoticism, and Violence

Representing the Self, “the Other,“ and Rival Empires in the English and French Illustrated Press, 1880-1905

H. Hazel Hahn

The English and French illustrated press between 1880 and 1905 depicted Europeans as superior to non-Europeans and rarely questioned the colonizing right of Europeans. The illustrated press, such as news magazines The Illustrated London News, The Graphic, and L'Illustration, as well as the newspaper Le Petit Journal, was consumed by colonial news, reported as a series of crises, battles, and frontier troubles, and represented colonial officers and soldiers as heroes. However, a series of imperial rivalries increasingly undermined any collective “European“ understanding of the imperial mission. By implicitly and explicitly questioning and criticizing other empires' motives and capacity for colonization, the press came to portray colonization as a power dynamic. Heroism was increasingly tied to nationalism rather than to broader moral principles. The rhetoric and imagery of imperialism were thus fraught with paradoxes and double standards. The press coverage also reveals close links between war and tourism imaginaries.

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Sartre's Theater of Resistance: Les Mouches and the Deadlock of Collective Responsibility

Andrew Ryder

Sartre's play Les Mouches (The Flies), first performed in 1943 under German occupation, has long been controversial. While intended to encourage resistance against the Nazis, its approval by the censor indicates that the regime did not recognize the play as a threat. Further, its apparently violent and solitary themes have been read as irresponsible or apolitical. For these reasons, the play has been characterized as ambiguous or worse. Sartre himself later saw it as overemphasizing individual autonomy, and in the view of one critic, it conveys an “existentialist fascism.” In response to this reading, it is necessary to attend to the elements of the play that already emphasize duty to society. From this perspective, the play can be seen as anticipating the concern with collective responsibility usually associated with the later Sartre of the 1960s. More than this, the play's apparent “ambiguity” can be found to exemplify a didacticism that is much more complex than sometimes attributed to Sartre. It is not only an exhortation about ethical responsibility, but also a performance of the difficulties attendant to that duty.

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Finally, Militarism Is a Legitimate Term

Yoram Peri

David Greenblum , From the Heroism of the Spirit to the Sanctification of Power: Power and Heroism in Religious Zionism between 1948 and 1968 (Tel Aviv: Open University, 2016). Uri S. Cohen , The Security Style and the Hebrew Culture of

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Recapturing the Lost

Digitalized Memories of the Rhodesian Bush War

Ane Marie Ørbø Kirkegaard

War took place. This was a society in which the jingoist militarized heroism of Victorian and Edwardian schools, modeled on the military ( Weeks 1989 ) and boys’ literature and widely consumed by British colonialists throughout the empire ( Woollacott

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Queering Lucrezia's Virtú

A Feminist Reinterpretation of the Radical Machiavelli

Andrés Fabián Henao Castro

-established heroism of Clizia, Lucrezia's remains politically ambiguous in the secondary literature. 4 Mandragola is a five-act comedy Machiavelli wrote in 1518 but set in 1504, during the period of the Florentine Republic. Like Livy's (2002: 100–104 ) story, with

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Sacrifice/Martyrdom in Lady Lumley’s Iphigenia and Contemporary Palestine

Bilal Tawfiq Hamamra

participate in the nationalist struggle against Israel, they can appropriate masculine identities, primarily through acts of suicide bombing, such as ‘heroism’ and ‘martyrdom’. Nationalism 2 thus lets Palestinian women transgress their conventional roles: the

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Narrating Muslim Girlhood in the Pakistani Cityscape of Graphic Narratives

Tehmina Pirzada

Muslim girlhood. I argue that these narratives offer a layered verbal-visual aesthetic by synthesizing codes of realism with the artifice of the graphic medium, subsequently allowing their girl protagonists to oscillate between the tropes of heroism and

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Competing Visions

The Visual Culture of the Congo Free State and Fin de Siècle Europe

Matthew G. Stanard

broader ambit of the following analysis reveals themes beyond the searing critique of Leopoldian misrule. Among these, CFS visual culture gave expression to a colonial-era dichotomy, that of heroism and violence, where depictions of European valor

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I'm No Princess

Super Hero Girls Together

Lucy I. Baker

, Harley Quinn, Poison Ivy, Katana, and Batgirl interact with each other and assorted other figures from the DC stable, navigating high school concerns alongside super heroic ones. This liminal space of mundane heroism with classes on various forms of

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Historiality, Historization and Historicity and The Condemned of Altona

Adrian van den Hoven

In his lengthy interview with Bernard Dort, published in Sartre on Theater1, the dramatist gives a detailed justification for the theme and setting of his play. His goal was “to demystify heroism – that is, military heroism – by showing its link with limitless violence.” Sartre decided not to situate the action in France “because [he] wanted [to have] a fairly wide audience” and satisfy in that way “an aesthetic need of theater, the need for distancing the object to some extent by displacing it in space in and time”.