radical politics
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2022 ◽  
Vol 30 (1) ◽  
pp. 35-60
Author(s):  
Max Ward

Abstract This article explores the changing ways the Japanese police understood and policed radical politics between 1900 and 1945. Specifically, it traces the process in which the objective of policing transformed from an emphasis on political organizations, their activities, publications, and assemblies in the 1900s to the policing of individuals ostensibly harboring “dangerous ideas” that were deemed threatening to state and capital—what the police came to categorize as “thought crime” by the late 1920s. Once “thought” was identified as an object for policing, Japanese police agencies began to practice a kind of intellectual history—thinking like a state—to distinguish dangerous thought and to understand its origin and its spread during the socioeconomic turbulence of the interwar period. Drawing on Jacques Rancière’s theory of police, this article explores how police manuals and other publications categorized certain ideas, texts, enunciations, and slogans and distributed them based on the presumed degree of danger they posed to the imperial polity. It reveals how the expanded classifications and distributions of dangerous thought transformed policing in the 1920s, thereby extending imperial state power into various aspects of social life in interwar Japan.


2022 ◽  

James Malcolm Rymer (b. 1814–d. 1884) created two of the most influential monsters of 19th-century fiction: Varney the Vampyre and Sweeney Todd. The son of an Edinburgh-born London engraver, Malcolm Rymer, who published poetry and a Gothic novel, Rymer was raised in a working-class literary-artistic family. His brothers Gaven and Chadwick were artists, and his brother Thomas put his engraving skills to criminal use as a serial financial forger. For the penny periodicals magnate Edward Lloyd, Rymer prolifically wrote bestselling serials including Ada, the Betrayed, or, The Murder at the Old Smithy (1843); The Black Monk, or, The Secret of the Grey Turret (1844); Varney, the Vampyre, or, The Feast of Blood (1845–1847); and the Sweeney Todd tale The String of Pearls, a Romance (1846–1847, expanded in 1850 as The String of Pearls, or The Barber of Fleet Street). In the 1850s, Lloyd’s business model changed. Favoring news over fiction, he jettisoned Rymer, who in 1858 took up employment composing serials for Reynolds’s Miscellany, a penny periodical founded by the radical journalist and novelist George W. M. Reynolds. Some of Rymer’s serials of this period, such as the outlaw romances Edith the Captive, or the Robbers of Epping Forest (1861–1862) and its sequel Edith Heron, or the Earl and the Countess (1866), were issued in stand-alone editions by Reynolds’s regular publisher, John Dicks. Rymer also composed essays, short tales, and poetry and served as a periodical editor, including of two of Lloyd’s penny periodicals. Extremely private, he published for the most part anonymously, as “the author of” several of his bestselling penny bloods, and under a variety of pseudonyms, including the anagrams “Malcolm J. Errym” and “Malcolm J. Merry” and “Lady Clara Cavendish.” In the 20th century, while Sweeney Todd’s fame grew, Rymer was largely forgotten, in part because an apocryphal bibliographic tradition erroneously maintained that The String of Pearls and many of his other works were written by another Lloyd employee, Thomas Peckett Prest. Since the 1960s, scholarly interest in penny fiction has brought to light Rymer’s contemporaneous popularity, his complex aesthetics, his often liberal or radical politics, his profound impact on Victorian mass culture, and his work’s vibrant transmedia afterlives.


2021 ◽  
pp. 146-171
Author(s):  
Kelvin Everest

The contradictions of Shelley’s radical politics and his aristocratic birth and upbringing place him as a potential victim of the revolutionary change he envisages and wishes for. He embodies some of the qualities which his own social critique deplores. This imports a quasi-suicidal logic into his work, where his influence is felt to be most effective once emancipated from his living person and social identity. This contradiction is explored in analysis of passages from Prometheus Unbound, and then in a sustained reading of Julian and Maddalo, where the central figure of the ‘madman’ throws into relief the civilized, gentlemanly manners of the Shelley/Byron characters. The contrast between ‘civilized’ and ‘mad’ is represented not simply in thematic terms but as a contrast in poetic styles.


2021 ◽  
Author(s):  
◽  
Andrew Raba

<p>In this project I read four Philip K. Dick novels against the writing of the Situationist International (SI). In doing so, I seek to disrupt two critical trends that arguably impede Dick criticism: the depoliticization of Dick and the lack of focus on his style. Through reading his work against the politics of the SI, Dick’s own radical politics can be defined and reaffirmed. I make the case that Dick is a writer predominantly concerned with politics and ideology over and above philosophy and ontology. Secondly, I argue that the political power of Dick’s work is inseparable from his avant-garde style; in particular, his frequent use of what the Situationists termed détournement. With revolutionary politics and avant-garde aesthetics in mind, I re-examine the canonical novels Martian Time-Slip and Ubik, and redeem two of Dick’s neglected novels, The Game-Players of Titan and Galactic Pot-Healer.</p>


2021 ◽  
Author(s):  
◽  
Andrew Raba

<p>In this project I read four Philip K. Dick novels against the writing of the Situationist International (SI). In doing so, I seek to disrupt two critical trends that arguably impede Dick criticism: the depoliticization of Dick and the lack of focus on his style. Through reading his work against the politics of the SI, Dick’s own radical politics can be defined and reaffirmed. I make the case that Dick is a writer predominantly concerned with politics and ideology over and above philosophy and ontology. Secondly, I argue that the political power of Dick’s work is inseparable from his avant-garde style; in particular, his frequent use of what the Situationists termed détournement. With revolutionary politics and avant-garde aesthetics in mind, I re-examine the canonical novels Martian Time-Slip and Ubik, and redeem two of Dick’s neglected novels, The Game-Players of Titan and Galactic Pot-Healer.</p>


2021 ◽  
Author(s):  
Tanalís Padilla

In the 1920s, Mexico established rural normales—boarding schools that trained teachers in a new nation-building project. Drawn from campesino ranks and meant to cultivate state allegiance, their graduates would facilitate land distribution, organize civic festivals, and promote hygiene campaigns. In Unintended Lessons of Revolution, Tanalís Padilla traces the history of the rural normales, showing how they became sites of radical politics. As Padilla demonstrates, the popular longings that drove the Mexican Revolution permeated these schools. By the 1930s, ideas about land reform, education for the poor, community leadership, and socialism shaped their institutional logic. Over the coming decades, the tensions between state consolidation and revolutionary justice produced a telling contradiction: the very schools meant to constitute a loyal citizenry became hubs of radicalization against a government that increasingly abandoned its commitment to social justice. Crafting a story of struggle and state repression, Padilla illuminates education's radical possibilities and the nature of political consciousness for youths whose changing identity—from campesinos, to students, to teachers—speaks to Mexico’s twentieth-century transformations.


2021 ◽  
Vol 10 (2) ◽  
pp. 249-263 ◽  
Author(s):  
Charlie Dannreuther

By exploring some of the challenges of teaching a radical politics in the neo-liberal university, the article looks to the writings of radical pedagogues like Freire and Giroux to position hope as an important resource for critical pedagogy for teachers. Drawing on Coole’s work on Merleau-Ponty, the article examines the potential of a critical pedagogy that taps into the body, rather than a mind, as a vessel for capturing hope and thus as a way of opening up a new resource for linking hope to educational practice. These resources are discussed in relation to debates concerning the politics of artistic practices, particularly with regard to how an embodied pedagogy might work around the constraints imposed by neo-liberal universities. Three themes are identified as warranting further discussion for an embodied pedagogy and their implications are reflected upon. These relate to how we view the student as embodying hope, how we view the classroom as a place of rich connections and how we capture learning through richness and reflection. The United Kingdom is the focus of the article, but there is a wider relevance given ongoing global trends in and debates about higher education.


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