Russia’s Rejection of Liberal Politics

2021 ◽  
pp. 151-168
Author(s):  
Chris Miller
Keyword(s):  
2016 ◽  
Vol 13 (4) ◽  
pp. 536-551
Author(s):  
Jacqui Miller

Billy Elliot (2000) has been widely recognised as an important British film of the post-Thatcher period. It has been analysed using multiple disciplinary methodologies, but almost always from the theoretical frameworks of class and gender/sexuality. The film has sometimes been used not so much as a focus of analysis itself but as a conduit for exploring issues such as class deprivation or neo-liberal politics and economics. Such studies tend to use the film's perceived shortcomings as a starting point to critique society's wider failings to interrogate constructions of gender and sexuality. This article argues that an examination of the identity formation of some of the film's subsidiary characters shows how fluidity and transformation are key to the film's opening up of a jouissance which is enabled by but goes beyond its central character.


2016 ◽  
Vol 33 (1) ◽  
pp. 92-116 ◽  
Author(s):  
David K. Blake

By examining folk music activities connecting students and local musicians during the early 1960s at the University of Illinois at Urbana-Champaign, this article demonstrates how university geographies and musical landscapes influence musical activities in college towns. The geography of the University of Illinois, a rural Midwestern location with a mostly urban, middle-class student population, created an unusual combination of privileged students in a primarily working-class area. This combination of geography and landscape framed interactions between students and local musicians in Urbana-Champaign, stimulating and complicating the traversal of sociocultural differences through traditional music. Members of the University of Illinois Campus Folksong Club considered traditional music as a high cultural form distinct from mass-culture artists, aligning their interests with then-dominant scholarly approaches in folklore and film studies departments. Yet students also interrogated the impropriety of folksong presentation on campus, and community folksingers projected their own discomfort with students’ liberal politics. In hosting concerts by rural musicians such as Frank Proffitt and producing a record of local Urbana-Champaign folksingers called Green Fields of Illinois (1963), the folksong club attempted to suture these differences by highlighting the aesthetic, domestic, historical, and educational aspects of local folk music, while avoiding contemporary socioeconomic, commercial, and political concerns. This depoliticized conception of folk music bridged students and local folksingers, but also represented local music via a nineteenth-century rural landscape that converted contemporaneous lived practice into a temporally distant object of aesthetic study. Students’ study of folk music thus reinforced the power structures of university culture—but engaging local folksinging as an educational subject remained for them the most ethical solution for questioning, and potentially traversing, larger problems of inequality and difference.


Author(s):  
James Kennedy ◽  
Ronald Kroeze

This chapter takes as its starting point the contemporary idea that the Netherlands is one of the least corrupt countries in the world; an idea that it dates back to the late-nineteenth and early-twentieth centuries. In this chapter, the authors explain how corruption was controlled in the Netherlands against the background of the rise and fall of the Dutch Republic, modern statebuilding and liberal politics. However, the Dutch case also presents some complexities: first, the decrease in some forms of corruption was due not to early democratization or bureaucratization, but was rather a side-effect of elite patronage-politics; second, although some early modern forms of corruption disappeared around this period, new forms have emerged in more recent times.


2016 ◽  
Vol 43 (1) ◽  
pp. 83-95 ◽  
Author(s):  
Catherine Kellogg

Judith Butler and Catherine Malabou’s recent exchange, ‘You Be My Body for Me: Body, Shape and Plasticity in Hegel’s Phenomenology of Spirit’, is remarkable because in their rereading of Hegel’s famous lord and bondsman parable, rather than focusing on recognition, work, or even desire, Butler and Malabou each wonder about how Hegel contributes to a new way of thinking about ‘having’ a body and how coming to ‘be’ a body necessarily involves a kind of dispossession. Butler and Malabou’s reading of Hegel is congruent with a current shift on the left away from a liberal politics of recognition to a (post-)Marxist analytic of dispossession: a move, in other words, away from liberal ‘solutions’ of redistribution – of either goods or recognition – towards thinking through issues of settler colonialism, forced migration and empire. Butler and Malabou’s piece points towards the insight that Hegel’s parable must be thought in terms of the political history of possessive individualism, and so in terms of the history of juridically defined property relations; the history of regarding both the body and the land as property. The ‘two valences’ of dispossession, in other words, refers in fact to a logic of property relations, one between those who ‘have’ property (either land or the property of their own bodies) and those who are juridically defined as propertyless.


2021 ◽  

There was good reason for Hunt to dedicate his poem to Byron. For one thing, Byron helped him secure John Murray as a publisher--and for another, the name "Byron" attached to almost any publication, regardless of quality, was an excellent sales tool. Rimini, with its bodice-ripping apparatus, would probably have sold reasonably well even without the dedication. Murray was repelled by Hunt, regarding him as a money-grubber with unacceptably liberal politics.


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