The literary genres of Edmund Burke: the political uses of literary form

1997 ◽  
Vol 34 (09) ◽  
pp. 34-4915-34-4915
Author(s):  
David Johnson

The reception in South Africa of the utopian tradition initiated by Marx, Engels and Lenin is analysed, focusing on the period from 1910 to 1930. The chapter examines the early South African dreams of freedom derived from or influenced by classical Marxism: the political journalism of Olive Schreiner from the 1880s to 1920; the novel 1960 (A Retrospect) by James and Margaret Scott Marshall; the Christian-influenced dreams of David Ivon Jones and Josiah Gumede; the 1928 Native Republic Thesis prescribed for South Africa by the Soviet Union’s Comintern; the literary visions of freedom of Edward Roux (inspired by Swinburne) and J. T. Bain (inspired by William Morris), as well as the many dreams expressed in literary form in the pages of The International and successor CPSA newspapers The South African Worker and Umsebenzi; J. M. Gibson’s ideal of an economic freedom that supersedes the political freedoms of liberalism; and the Stalinist telos driven by ‘the deepening economic crisis’ and culminating in the dictatorship of the proletariat. Roux’s political cartoons envisioning freedom and published in Umsebenzi are analysed.


2019 ◽  
pp. 1-43
Author(s):  
John Owen Havard

Disaffected Parties offers a prehistory for modern political disaffection that underscores literature’s importance as a means of thinking about a diverse array of relationships with politics, in this period and beyond. The Introduction lays out some of the historical frameworks and changing conceptions of politics—including the understandings of disaffection and the expanded conception of political parties—employed in the book, while also looking to the wider questions posed by the disaffected stance and its bearing on the status of the literary. The opening section explores the political valences of disaffection from the mid-seventeenth century down to the present, employing the term’s historical and conceptual proximity to terms including disinterest, dissent, and indifference to reflect on the prospect of a literature of disaffection (defined by its aspiration to absolute withdrawal and disinterest, but also animated by disavowed investments). The Introduction goes on to explain the historical rationale for the book and to outline the book’s approach to literary form.


PMLA ◽  
2003 ◽  
Vol 118 (5) ◽  
pp. 1305-1319 ◽  
Author(s):  
Elizabeth D. Samet

Jean-Jacques Rousseau's meditations on artificial society's perversions of natural sentiment, specifically on the theater's contribution to societal degeneration, provide a historical context for the dialogue between Edmund Burke and Thomas Paine about the nature of the French Revolution. Much of the debate over the political rights of man consisted of an analysis of his affective rights. It was in many ways a controversy over what could be considered a moral method for attaching an individual's sympathies. The problem of affective liberation stands behind Paine's quarrel with Burke's Reflections and with the victim Burke offered for the world's consideration in that text: Marie Antoinette. For Burke the emotions aroused by theater and by the tragic representation of historical events could liberate the spectator into constructive action. Exposing Burke's own affective imprisonment by the spectacle of revolution, Paine demanded instead a liberation through rational inquiry.


Richard Wright left readers with a trove of fictional and nonfictional works about suffering, abuse, and anger in the United States and around the globe. He composed unforgettable images of institutionalized racism, postwar capitalist culture, Cold War neo-imperialism, gender roles and their violent consequences, and the economic and psychological preconditions for personal freedom. He insisted that humans unflinchingly confront and responsibly reconstruct their worlds. He therefore offered not only honest social criticisms but unromantic explorations of political options. The book is organized in five sections. It opens with a series of broad discussions about the content, style, and impact of Wright’s social criticism. Then the book shifts to particular dimensions of and topics in Wright’s writings, such as his interest in postcolonial politics, his approach to gendered forms of oppression, and his creative use of different literary genres to convey his warnings. The anthology closes with discussions of the different political agendas and courses of action that Wright’s thinking prompts—in particular, how his distinctive understanding of psychological life and death fosters opposition to neoslavery, efforts at social connectivity, and experiments in communal refusal. Most of the book’s chapters are original pieces written for this volume. Other entries are excerpts from influential, earlier published works, including four difficult-to-locate writings by Wright on labor solidarity, a miscarriage of justice, the cultural significance Joe Louis, and the political duties of black authors. The contributors include experts in Africana studies, history, literature, philosophy, political science, and psychoanalysis.


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