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What is the role of cultural authenticity in the making of nations? Much scholarly and popular commentary on nationalism dismisses authenticity as a romantic fantasy or, worse, a deliberately constructed mythology used for political manipulation. The Politics and Poetics of Authenticity places authenticity at the heart of Sinhala nationalism in late nineteenth and twentieth-century Sri Lanka. It argues that the passion for the ‘real’ or the ‘authentic’ has played a significant role in shaping nationalist thinking and argues for an empathetic yet critical engagement with the idea of authenticity. Through a series of fine-grained and historically grounded analyses of the writings of individual figures central to the making of Sinhala nationalist ideology the book demonstrates authenticity’s rich and varied presence in Sri Lankan public life and its key role in understanding postcolonial nationalism in Sri Lanka and elsewhere in South Asia and the world. It also explores how notions of authenticity shape certain strands of postcolonial criticism and offers a way of questioning the taken-for-granted nature of the nation as a unit of analysis but at the same time critically explore the deep imprint of nations and nationalisms on people's lives.
Far from teleological historiography, the pan-European perspective on Early Modern drama offered in this volume provides answers to why, how, where and when the given phenomena of theatre appear in history. Using theories of circulation and other concepts of exchange, transfer and movement, the authors analyze the development and differentiation of European secular and religious drama, within the disciplinary framework of comparative literature and the history of literature and concepts. Within this frame, aspects of major interest are the relationship between tradition and innovation, the status of genre, the proportion of autonomous and heteronomous creational dispositions within the artefacts or genres they belong to, as well as strategies of functionalization in the context of a given part of the cultural net. Contributions cover a broad range of topics, including poetics of Early Modern Drama; political, institutional and social practices; history of themes and motifs (Stoffgeschichte); history of genres/cross-fertilization between genres; textual traditions and distribution of texts; questions of originality and authorship; theories of circulation and net structures in Drama Studies.
As the notion of government by consent took hold in early modern England, many authors used childhood and maturity to address contentious questions of political representation - about who has a voice and who can speak on his or her own behalf. For John Milton, Ben Jonson, William Prynne, Thomas Hobbes and others, the period between infancy and adulthood became a site of intense scrutiny, especially as they examined the role of a literary education in turning children into political actors. Drawing on new archival evidence, Blaine Greteman argues that coming of age in the seventeenth century was a uniquely political act. His study makes a compelling case for understanding childhood as a decisive factor in debates over consent, autonomy and political voice, and will offer graduate students and scholars a new perspective on the emergence of apolitical children's literature in the eighteenth century.
Hermann Kappelhoff casts the evolution of cinema as an ongoing struggle to relate audiences to their historical moment. Appreciating cinema's unique ability to bind concrete living conditions to individual experience (which existing political institutions cannot), he reads films by Sergei Eisenstein and Pedro Almodóvar, by the New Objectivity and the New Hollywood, to demonstrate how cinema situates spectators within society. Kappelhoff applies the Deleuzean practice of "thinking in images" to his analysis of films and incorporates the approaches of Jacques Rancière and Richard Rorty, who see politics in the permanent reconfiguration of poetic forms. This enables him to conceptualize film as a medium that continually renews the audiovisual spaces and temporalities through which audiences confront reality. Revitalizing the reading of films by Visconti, Fassbinder, Kubrick, Friedkin, and others, Kappelhoff affirms cinema's historical significance while discovering its engagement with politics as a realm of experience.
An invaluable resource to scholars of literary and intellectual movements in late imperial and modern China, sexuality, gender, literary decadence, modernism, countercultures, and erotic literature, this book offers the first literary history on an important movement spanning the late Ming to the early Republican era.
A cutting-edge contribution to the aesthetic turn in international relations scholarship, this book exposes the role of poetic techniques in constituting the reality of international politics. It has two symmetrical goals: to illuminate the nonempirical fictions of factual international relations literature, and to highlight the real factual inspirations and implications of contemporary international relations fiction. Employing narrative theory developed by Hayden White, the author examines factual and fictional accounts of world affairs ranging from the anarchy narrative, central to mainstream international relations research, to novels by Don DeLillo and Milan Kundera. Chapters analyzing factual literature flesh out its unacknowledged inventions, while those dedicated to fiction explain its political roots and agenda. Throughout, the distinction between factual and fictional representations of international relations breaks down. Social-scientific narratives emerge as exercises in rhetoric: the art and politics of persuasion through language. Artistic narratives surface as real pedagogical lessons and exercises in political activism. The volume challenges the autonomy of academic international relations as an exclusive purveyor of serious knowledge about world affairs and calls for active engagement with literary art. It will be of interest to scholars of International Relations, Political Theory, Historiography, Cultural Theory, and Literary Studies and Criticism.
"This book arises from papers presented at the symposium Ottoman Istanbul and British Orientalism held at Suna and Inan Kirac Foundation, Pera Museum, between 27-28 November 2008"--T.p. verso.
The contributions gathered in this volume bear witness to the fact that belonging is a multi-faceted concept that necessitates different and shifting idioms of expression. It continually requires reconsideration and redefinition of our affiliations in response to the rapid social, cultural, and political changes of our world. The literary paradigms, linguistic practices, and cultural formations of belonging testify to the impossibility of confining it to conventional and established structures of knowledge. The different reflections on belonging introduced in this book are instrumental in reassessing and remodelling the general assumptions that have informed its definition and representation. The current global reality and the self-other encounter make inevitable the continuous search for new forms of belonging that are in tune with one’s evolving and changing sense of self. Theoretically informed by and substantially grounded in lively and heated debates on cultural identity and belonging, this book proposes new critical directions in understanding national and transnational belonging.
This volume is a timely and necessary intervention as it provides a rich, multifaceted approach to the study of cinema and visual representation. It presents a lucid and intelligent account of twentieth century film criticism essential for students in the fields of media studies and cultural studies. It leads the reader through the major contemporary philosophical and sociocultural theories of appreciating cinematic signs and themes. The book also gathers together informed discussions about the nature and principles of literary adaptation that will greatly benefit anyone interested in this field of study.