“Very Slowly into My Own Tongue”

Author(s):  
Andrew Palmer

This chapter considers how the modernist form of Woolf’s work brought about a reimagining of the politician. In Three Guineas, Woolf identifies politics as ‘the profession that is most closely connected with war’. However, while her critique of patriarchy takes aim at generals, judges, dons and archbishops, its comments about politicians are more conflicted. In an essay framed as a response to the question “How in your opinion are we to prevent war?”, the very group whose failings most directly cause war is never directly attacked. This elision echoes her mixed feelings about her husband Leonard’s parliamentary candidacy, and expresses her recognition that Parliament, though ‘ridiculous’, may also be an instrument of change – a possibility that distinguishes it from the other institutions of patriarchy.

Worldview ◽  
1960 ◽  
Vol 3 (9) ◽  
pp. 7-8
Author(s):  
Will Herberg

John Courtney Murray's writing cannot fail to be profound and instructive, and I have profited greatly from it in the course of the past decade. But I must confess that his article, "Morality and Foreign Policy" (Worldview, May), leaves me in a strange confusion of mixed feelings. On the one hand, I can sympathize with what I might call the historical intention of the natural law philosophy he espouses, which I take to be the effort to establish enduring structures of meaning and value to serve as fixed points of moral decision in the complexities of the actual situation. On the other hand, I am rather put off by the calm assurance he exhibits when he deals with these matters, as though everything were at bottom unequivocally rational and unequivocally accessible to the rational mind. And I am really distressed at what seems to 3ie to be his woefully inadequate appreciation of the position of the "ambiguists," among whom I cannot deny I count myself.


2020 ◽  
Vol 4 (3) ◽  
Author(s):  
Miroslava Georgieva ◽  
◽  
◽  

In the 1930s, society in the country faces the opportunity for women to obtain equal suffrage. The intellectual elite refers to this possibility with mixed feelings. On one hand, there are undoubted successes of independent and confident Bulgarian women who have established themselves in their profession, on the other – they are still a minority. The majority of women with predominantly provincial origin have no university education and sufficient experience. Their participation in political elections that they do not understand can not bring about positive changes in the country. Boris Denev, an established and sought-after artist, actively making his mark as a publicist does not share such opinion. The sense of humor and irony that he uses in his feuilletons are not liked by the representatives of the Bulgarian Women‘s Union, who are actively working for the implementation of equality. The artist begins a discussion with Union Secretary Dr. Plocheva in the capital‘s press. There are supporters of opposing views, each of them is convinced that his position is the most correct for defending Bulgarian identity in a difficult and unstable political environment.


1989 ◽  
Vol 23 (4) ◽  
pp. 797-813
Author(s):  
John Toye

The subject of this paper is the fate of progressive taxation in South Asia. This is a subject about which Kingsley Martin himself would have had mixed feelings. On the one hand, he strongly advocated a redistributive fiscal strategy. On the other hand, he was never at all comfortable examining the kind of economic analysis with which it is usually justified. Somewhat unfairly, he distrusted all orthodox economists on moral grounds (Martin, 1966: 34). Moreover, his prolonged encounter with the unorthodox economics of Maynard Keynes was equally unsatisfactory as an educational experience. Lord Boothby summed up Martin's efforts to learn the technicalities of economics from Keynes as follows: ‘Kingsley simply never understood economics and yet he was always trying to understand. “Explain it to me, then” he would say, but his attention soon wandered’ (Rolph, 1973: 195).


Author(s):  
Elsa Högberg

In this chapter, Högberg traces a specific form of non-violent ethics across Woolf’s interwar and WWII writings, considering its political potential and limits. Focusing on Emmanuel Levinas’s idea of ‘The face as the extreme precariousness of the other. Peace as awakeness to the precariousness of the other’(Levinas, ‘Peace and Proximity’, 1984) alongside Judith Butler’s attempts to politicise his ethics of precariousness, this chapter shows how Woolf foregrounds vulnerability as an ethical injunction against violence. Arguing that Woolf’s work prompts a still unresolved question as to whether a pacifist ethics can be politically productive, Högberg reads Woolf’s pacifism as rooted in a concept of peace as proximity: the proximity of the ethical encounter, which prompts awakeness to the other’s vulnerability. The chapter ranges from Woolf’s Levinasian elevation, in Three Guineas, of a primary responsibility to Antigone’s Law of love, peace and proximity over the laws of the sovereign state to her literary articulations of an alternatively Levinasian and Butlerian ethics of peace and precariousness in Jacob’s Room, The Waves and Between the Acts. Voiced through poetic tropes of naked defencelessness and extra-linguistic, primal cries, Woolf’s pacifist ethics floods the boundaries defining Europe in a relocation of its ‘Greek’ origins, and in defiance against its political constructions of the other’s precarious face as a threat, which continue to justify the scandalous closing of European borders to ‘millions of bodies’ made vulnerable by war.


Author(s):  
David Ehrenfeld

First fragment. I am in my apartment, a modern, starkly decorated eyrie in a high-rise building. I know it is my apartment in the intuitive but un-challengeable way one knows things in dreams. Actually, I am in a short hallway within the apartment—a parqueted floor and a window at the end of the hall stick in my mind. There is a storm going on, but the other side of the window seems very far away. It grows dark outside; lightning flashes intermittently. Sam, my youngest child, warns me to stay away from the window; he points out that there is a danger of tornadoes. As if to underscore the seriousness of the threat, the lights of the apartment begin to flicker. Second fragment. My wife, Joan, meets me at the door to the apartment. She looks upset. “The vine cleaners are here,” she whispers. It is clear to me that she wants to send them away—we don’t need vine cleaners for our potted plants—but it is too late. Looking past Joan, I see that the vine cleaners, an immigrant couple, are already at work, spraying and polishing the leaves. I can smell the perfumed chemical cleanser they are using. Perhaps, I think to myself, this is a free service provided by the management of the apartment building; but no, it isn’t, for now they are done and the man tells me that the vine cleaning costs $8.50. I hand him a $10 bill and get a one and two quarters in change. The couple waits. Do I tip them? A quarter each is hardly enough. Is a dollar too much? I hesitate. Out-side, the storm rages. Then the lights flicker again and go out, freezing the tableau. I opened my eyes with mixed feelings of relief and disorientation. Re-lief because the vine cleaners had vanished, along with the question of how much to tip them—there is no need to tip people in dreams. Disorientation because the place I had awakened in was so utterly different from the clinging aura of the dream, and yet this real place was also for a moment strange and unfamiliar.


1988 ◽  
Vol 129 ◽  
pp. 1-6
Author(s):  
Irwin I. Shapiro

I have mixed feelings about giving the opening talk at this symposium. On the one hand I am delighted to welcome you to this conference on the impact of VLBI on astrophysics and geophysics. On the other hand I am very sad that Ed Purcell is bothered by a bad back and cannot give the introduction as originally scheduled. Ed is one of the truly great of the world's physicists and one of the nicest persons ever born. My substituting for Ed is somewhat like Bill Buckner pinch hitting for Lou Gehrig. (Those who do not understand this reference to American baseball might have a better appreciation after viewing tonight's Red Sox game.)


1999 ◽  
Vol 93 (2) ◽  
pp. 379-394 ◽  
Author(s):  
Hilary Charlesworth

I have mixed feelings about participating in this symposium as the feminist voice. On the one hand, I want to support the symposium editors’ attempt to broaden the standard categories of international legal methodologies by including feminism in this undertaking. On the other hand, I am conscious of the limits of my analysis and its unrepresentativeness—the particularity of my nationality, race, class, sexuality, education and profession shapes my outlook and ideas on international law. I clearly cannot speak for all women participants in and observers of the international legal system. I also hope that one day I will stop being positioned always as a feminist and will qualify as a fully fledged international lawyer. My reservations are also more general because presenting feminism as one of seven rival methodological traditions may give a false sense of its nature. The symposium editors’ memorandum to the participants encouraged a certain competitiveness: we were asked, “Why is your method better than others?” I cannot answer this question. I do not see feminist methods as ready alternatives to any of the other methods represented in this symposium. Feminist methods emphasize conversations and dialogue rather than the production of a single, triumphant truth.1 They will not lead to neat “legal” answers because they are challenging the very categories of “law” and “nonlaw.” Feminist methods seek to expose and question the limited bases of international law’s claim to objectivity and impartiality and insist on the importance of gender relations as a category of analysis. The term “gender” here refers to the social construction of differences between women and men and ideas of “femininity” and “masculinity”—the excess cultural baggage associated with biological sex.


2021 ◽  
pp. IX-XVIII
Author(s):  
Maxime Danesin ◽  
Marco Pellitteri

Dear readers, students, fellow scholars, welcome to this tenth instalment of Mutual Images Journal, which we have titled “Aesthetic journeys and media pilgrimages in the contexts of pop culture and the creative industries from and to East Asia”, trying to subsume in it the variety of themes the volume hosts.   Audaces fortuna iuvat The Latin adage of this introduction states: “good luck helps the daring ones”. We think this is what happened to us and Mutual Images, both the journal and the association as a whole. We had left 2020 with more than just the proverbial mixed feelings: we were all uncertain and confused about what would and could happen in 2021. We won’t give you a summary of the many facets of what 2020 has been for the world, because each of you knows that all too well. But for MIRA, at least, 2021 was a moment of rally and refocus on what we hold dear: research, publishing, and the careful organisation of workshops and similar events. We rolled up our sleeves as so many people around the world did, and, in our microcosm of transcultural research in the humanities, media, cultural sociology, and area studies — whether supported by universities or independently run — we brought home two very nice workshops and a summer school. One workshop was held in Italy and Spain in November 2020 and the other in Japan in January 2021, although, for obvious reasons, both were technically conducted mainly online; and the summer school took place on-site in China, in June 2021. The two workshops saw [...]


Author(s):  
John Strachan

This essay examines Leigh Hunt’s attitude towards sport, a subject about which he had mixed feelings. On the one hand Hunt strongly denounced violent and death-dealing sports such as boxing, shooting and angling, and on the other he idealised those pastimes which seemed to him to call back a lost world of ‘Merry Old England’: cricket, quarterstaff and bowls. Hunt saw sports as ethics-in-action; to him they offered moral lessons, some malign (the corrupting effects of pugilism) others benign (the healthy influence of the sports of the village green). The essay also examines how Hunt’s examination of sport was made in gendered terms of ‘manliness’ and ‘effeminacy’, and concludes by arguing that Blackwood’s attack on Hunt and the so-called ‘Cockney’ school might usefully be read in the context of the contemporary satirical tradition of the ‘Cockney sportsman’.


2020 ◽  
Vol 8 (1) ◽  
pp. 5-22
Author(s):  
Sandra Meiri ◽  
Odeya Kohen Raz

Abstract This article argues that Guido's two dreams in Federico Fellini's 8½ reflect guilt stemming from his inability to meet his mother's expectations to remain chaste and pure. This is a faulty belief based on an early childhood memory representing Guido's mixed feelings of sexual exaltation and shame, resulting in fantasies that attempt to solve the riddle of his mother's desire. The film thus raises the question of fantasy 'what does the Other want from me?' and shows that assuming to know the answer involves guilt, stagnation and indecisiveness. This becomes evident in the screentests scene near the end of the film, when Guido cannot decide which actresses will play the roles of the characters duplicating the women in his life. The screen tests are 'textual mise en abymes', reflecting not only Guido's life but also the basic code of the medium, i.e., the cinematographic image: reproduction, which precedes the cinematic language, is composed of a denotative code (a referent ‐ the actor in front of the camera) and a connotative code (cultural, including film iconography). Film can thus materialize fantasy through casting, which involves a level of concretization, by predicting what the audience wants. Therefore, guilt is an inherent part of the cinematographic image. Where Guido fails in choosing the 'right' actresses, because of his guilt, Fellini, having worked through his own guilt, thrives. This suggests that setting free the filmmaker's imagination and creative forces depends on ridding oneself of the guilt inherent in the translation of an image from fantasy to film.


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