Pub Date : 2017-02-01DOI: 10.1163/23751606-01302001
Jason Tuckwell
There are two ancient formulations of the problem art presents to us: poiesis understands art as a generic ontological problem and techne treats art as a particular kind of work—a skilful, intentional practice to deviate processes of becoming. Arguably, this distinction leads to very different procedures for determining the ‘work of art’; poiesis considers artistic praxis as resolved into the artefact while techne considers it as a problem in-itself. This tension is evident in the generic designation of the ‘work of art’ which tends to conflate process with what this process produces. This conflation about the work of art can be illuminated via a return to Aristotle’s concept of techne . This is because techne (the kind of work art performs) remains irreducible to both poiesis (to make) and praxis (deliberative action). Where poiesis and praxis are constructive activities differentiated by their intentional ends, techne remains a more foundational power to work upon processes of material causation. What these Aristotelian distinctions clarify is that the work of art is neither resolvable in the terms of its productions ( poiesis ) or the terms of its practices ( praxis , deliberative actions); rather, art works by deviating these productive processes in the midst of their becoming, by bringing unprecedented differences into being. As such, the work of art apprehended by Aristotelian techne is not reducible to any poiesis ; it works upon and divides poiesis into another workflow—a creative poiesis . The work of art thus appears as a creative, causal power counter-posed to all production.
{"title":"Productive and Creative Poiesis and the Work of Art","authors":"Jason Tuckwell","doi":"10.1163/23751606-01302001","DOIUrl":"https://doi.org/10.1163/23751606-01302001","url":null,"abstract":"There are two ancient formulations of the problem art presents to us: poiesis understands art as a generic ontological problem and techne treats art as a particular kind of work—a skilful, intentional practice to deviate processes of becoming. Arguably, this distinction leads to very different procedures for determining the ‘work of art’; poiesis considers artistic praxis as resolved into the artefact while techne considers it as a problem in-itself. This tension is evident in the generic designation of the ‘work of art’ which tends to conflate process with what this process produces. This conflation about the work of art can be illuminated via a return to Aristotle’s concept of techne . This is because techne (the kind of work art performs) remains irreducible to both poiesis (to make) and praxis (deliberative action). Where poiesis and praxis are constructive activities differentiated by their intentional ends, techne remains a more foundational power to work upon processes of material causation. What these Aristotelian distinctions clarify is that the work of art is neither resolvable in the terms of its productions ( poiesis ) or the terms of its practices ( praxis , deliberative actions); rather, art works by deviating these productive processes in the midst of their becoming, by bringing unprecedented differences into being. As such, the work of art apprehended by Aristotelian techne is not reducible to any poiesis ; it works upon and divides poiesis into another workflow—a creative poiesis . The work of art thus appears as a creative, causal power counter-posed to all production.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"13 1","pages":"99-118"},"PeriodicalIF":0.0,"publicationDate":"2017-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01302001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48550526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-02-01DOI: 10.1163/23751606-01302009
Irina Dzero, T. Bystrova
The punk feminist collective Pussy Riot translate new ideas by embedding them in the visual symbols of the target culture. With their short bright-colored dresses and tights they tap into the stylistics of the Russian female performance as non-threatening ambiance to take the stage and protest against misogyny and authoritarianism. In 2012 they performed at Moscow’s Christ the Savior Cathedral and asked the Virgin Mary to put an end to Vladimir Putin’s rule. They were captured and sentenced to two years in prison for instigating religious hatred. Welcomed in the West, they made a music video “I Can’t Breathe” (2015) using the case of Eric Garner to explain the tolerance for authority in Russia. We look at the eclectic mix of thinkers and artists Pussy Riot named as their inspirers, and use the collective’s work to examine the changing attitude to the translatability of cultures.
{"title":"Pussy Riot and the Translatability of Cultures","authors":"Irina Dzero, T. Bystrova","doi":"10.1163/23751606-01302009","DOIUrl":"https://doi.org/10.1163/23751606-01302009","url":null,"abstract":"The punk feminist collective Pussy Riot translate new ideas by embedding them in the visual symbols of the target culture. With their short bright-colored dresses and tights they tap into the stylistics of the Russian female performance as non-threatening ambiance to take the stage and protest against misogyny and authoritarianism. In 2012 they performed at Moscow’s Christ the Savior Cathedral and asked the Virgin Mary to put an end to Vladimir Putin’s rule. They were captured and sentenced to two years in prison for instigating religious hatred. Welcomed in the West, they made a music video “I Can’t Breathe” (2015) using the case of Eric Garner to explain the tolerance for authority in Russia. We look at the eclectic mix of thinkers and artists Pussy Riot named as their inspirers, and use the collective’s work to examine the changing attitude to the translatability of cultures.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"13 1","pages":"264-286"},"PeriodicalIF":0.0,"publicationDate":"2017-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01302009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47189922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-02-01DOI: 10.1163/23751606-01302006
E. Chan
This essay explores how Joseph Conrad reworks the trope of inheritance—traditionally considered relevant for earlier nineteenth-century literature rather than Modernism—in expressing Jim’s crisis of self-making in Lord Jim . Conrad moves away from the conventional emphasis on familial inheritance of social status and wealth to focus on inherited abilities, which Jim tries to prove in building his heroic and gentlemanly status. However, there are limits to this process of self-creation: inheritance is, as the word’s root suggests, innate to oneself, yet can also be extrinsic since it still needs to be expressed to call it one’s own, and be unstable since it is open to interpretation. Such complexities in the notion of inheritance, the essay argues, contribute to a modernist aesthetics in the novel that simultaneously harbours continuity (such as gradualism, predictability, and succession) and discontinuity (such as narrative rupture and the breakdown of causality), allowing the perils of modern self-making to be more fully revealed.
{"title":"“A Manifestation of a Deep, Inborn Inherited Instinct”: Modernist Aesthetics and the Instabilities of Inheritance in Joseph Conrad’s Lord Jim","authors":"E. Chan","doi":"10.1163/23751606-01302006","DOIUrl":"https://doi.org/10.1163/23751606-01302006","url":null,"abstract":"This essay explores how Joseph Conrad reworks the trope of inheritance—traditionally considered relevant for earlier nineteenth-century literature rather than Modernism—in expressing Jim’s crisis of self-making in Lord Jim . Conrad moves away from the conventional emphasis on familial inheritance of social status and wealth to focus on inherited abilities, which Jim tries to prove in building his heroic and gentlemanly status. However, there are limits to this process of self-creation: inheritance is, as the word’s root suggests, innate to oneself, yet can also be extrinsic since it still needs to be expressed to call it one’s own, and be unstable since it is open to interpretation. Such complexities in the notion of inheritance, the essay argues, contribute to a modernist aesthetics in the novel that simultaneously harbours continuity (such as gradualism, predictability, and succession) and discontinuity (such as narrative rupture and the breakdown of causality), allowing the perils of modern self-making to be more fully revealed.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"13 1","pages":"197-216"},"PeriodicalIF":0.0,"publicationDate":"2017-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01302006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49596842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-02-01DOI: 10.1163/23751606-01302002
Ioan Deac
Developing a system that would reunite all the arts and account for their similarities and differences on the basis of a shared set of criteria was one of the main objectives of the aesthetic discipline, whose roots run deep into romantic philosophy. The diversity of modernist experiments poses a number of challenges to such systematisation and invites theoreticians to start anew. To illustrate some of the main difficulties arising from this situation, particularly in the case of the literary work of art, this article will focus on Gerard Genette’s two volume work L’œuvre de l’art (1994, 1997). Genette’s main purpose is to offer a conceptual framework for the description of the work of art that would find a place in the system for its material mode of existence. His objective is achieved at the expense of the coherence of the model since the structure of what he terms allographic and autographic works proves to be asymmetrical. Thus, the autographic works are presented as having a dual nature: transcendental and immanent (that is, physical), while the allographic works comprise three different levels: transcendence – immanence (understood as ideal) – and (physical) manifestation. After confronting Genette’s premises with the conclusions of several disciplines which study the same object of immanence from a different perspective, this paper will propose a revised and more coherent version of his system.
{"title":"The Problematic Status of the Literary Work of Art in Contemporary Aesthetics","authors":"Ioan Deac","doi":"10.1163/23751606-01302002","DOIUrl":"https://doi.org/10.1163/23751606-01302002","url":null,"abstract":"Developing a system that would reunite all the arts and account for their similarities and differences on the basis of a shared set of criteria was one of the main objectives of the aesthetic discipline, whose roots run deep into romantic philosophy. The diversity of modernist experiments poses a number of challenges to such systematisation and invites theoreticians to start anew. To illustrate some of the main difficulties arising from this situation, particularly in the case of the literary work of art, this article will focus on Gerard Genette’s two volume work L’œuvre de l’art (1994, 1997). Genette’s main purpose is to offer a conceptual framework for the description of the work of art that would find a place in the system for its material mode of existence. His objective is achieved at the expense of the coherence of the model since the structure of what he terms allographic and autographic works proves to be asymmetrical. Thus, the autographic works are presented as having a dual nature: transcendental and immanent (that is, physical), while the allographic works comprise three different levels: transcendence – immanence (understood as ideal) – and (physical) manifestation. After confronting Genette’s premises with the conclusions of several disciplines which study the same object of immanence from a different perspective, this paper will propose a revised and more coherent version of his system.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"13 1","pages":"119-144"},"PeriodicalIF":0.0,"publicationDate":"2017-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01302002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49638750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-01DOI: 10.17885/HEIUP.TS.2017.2.23669
Takahiro Yamamoto
This paper attempts to illustrate the connectivities of the late-nineteenth-century treaty ports in East Asia, experienced by a Japanese business called Tashiroya. In the 1860s it had a monopoly over foreign trade in porcelain in Nagasaki, under the protection of the Saga domain. After the emergence of treaty port network that enabled freer movement of goods and people, Tashiroya lost its privilege and found itself in a competition in Chinese ports, not so much against the Western merchants, but with its domestic peers. In an effort to deal with the new commercial environment around the East China Sea, Tashiroya’s family members and employees set up branch stores in the treaty ports and travelled around to carry goods and to seek business opportunities. They aimed at diversifying the merchandise and markets, which saw partial success. In doing so they also attempted to get around the taxation by the Chinese Maritime Customs, rather than calling for the revision of Japan’s unequal treaties. After a series of botched effort to maintain the price of porcelain products by forming a cartel with other Japanese exporters, Tashiroya ventured into an uncharted territory of exporting roof tiles to Korea, which it failed to implement. The paper overall provides a microhistory of the East Asian treaty ports, decoupled from the state-level analysis and the narratives driven by national history.
{"title":"Privilege and Competition: Tashiroya in the East Asian Treaty Ports, 1860–1895","authors":"Takahiro Yamamoto","doi":"10.17885/HEIUP.TS.2017.2.23669","DOIUrl":"https://doi.org/10.17885/HEIUP.TS.2017.2.23669","url":null,"abstract":"This paper attempts to illustrate the connectivities of the late-nineteenth-century treaty ports in East Asia, experienced by a Japanese business called Tashiroya. In the 1860s it had a monopoly over foreign trade in porcelain in Nagasaki, under the protection of the Saga domain. After the emergence of treaty port network that enabled freer movement of goods and people, Tashiroya lost its privilege and found itself in a competition in Chinese ports, not so much against the Western merchants, but with its domestic peers. In an effort to deal with the new commercial environment around the East China Sea, Tashiroya’s family members and employees set up branch stores in the treaty ports and travelled around to carry goods and to seek business opportunities. They aimed at diversifying the merchandise and markets, which saw partial success. In doing so they also attempted to get around the taxation by the Chinese Maritime Customs, rather than calling for the revision of Japan’s unequal treaties. After a series of botched effort to maintain the price of porcelain products by forming a cartel with other Japanese exporters, Tashiroya ventured into an uncharted territory of exporting roof tiles to Korea, which it failed to implement. The paper overall provides a microhistory of the East Asian treaty ports, decoupled from the state-level analysis and the narratives driven by national history.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"8 1","pages":"79-102"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67582097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-01-01DOI: 10.17885/HEIUP.TS.2017.2.23668
Steven Ivings
Sitting in calm and deep waters, neatly tucked away from the sometimes perilous streams of the North Pacific and Japan Sea, Hakodate was in some ways an obvious choice as a port to be opened. It offered a suitable location for American whalers to call for supplies and repairs as they ventured on voyages of plunder in the nearby seas, and a safe anchorage for the naval ships of treaty powers—especially Russia—as they “wintered” or otherwise sought to project their power over East Asia. Despite the blessings of its physical geography, however, Hakodate sat on the southern tip of Ezo (later Hokkaido), an island which constituted the thinly populated fringe, or frontier, of the Japanese realm. This meant that despite its rumoured richness in natural resources, Ezo was by all accounts an economic backwater when Hakodate was opened to international trade, providing exports of various marine products to the main islands of Japan via a network of seasonal fisheries across Ezo. In the decades that followed Hakodate’s opening, the port’s trade and population expanded rapidly, transforming what was previously described as “a long fishing village” into a bustling port of over 50,000 by the mid-1880s. Nonetheless, this paper will argue that this expansion was not primarily a result of the opening of Hakodate to international trade; rather, it was the opening of Hakodate’s hinterland—Ezo, or from 1869, Hokkaido—which allowed Hakodate to prosper, enhancing its existing role as a hub for the marketing and distribution of northern marine products throughout Japan. The fact that foreign traders struggled to make any inroads into Hakodate’s principal trades serves as a warning to scholars not overstate the transformative capacity of western capitalism everywhere in East Asia.
{"title":"Trade and Conflict at the Japanese Frontier: Hakodate as a Treaty Port, 1854–1884","authors":"Steven Ivings","doi":"10.17885/HEIUP.TS.2017.2.23668","DOIUrl":"https://doi.org/10.17885/HEIUP.TS.2017.2.23668","url":null,"abstract":"Sitting in calm and deep waters, neatly tucked away from the sometimes perilous streams of the North Pacific and Japan Sea, Hakodate was in some ways an obvious choice as a port to be opened. It offered a suitable location for American whalers to call for supplies and repairs as they ventured on voyages of plunder in the nearby seas, and a safe anchorage for the naval ships of treaty powers—especially Russia—as they “wintered” or otherwise sought to project their power over East Asia. Despite the blessings of its physical geography, however, Hakodate sat on the southern tip of Ezo (later Hokkaido), an island which constituted the thinly populated fringe, or frontier, of the Japanese realm. This meant that despite its rumoured richness in natural resources, Ezo was by all accounts an economic backwater when Hakodate was opened to international trade, providing exports of various marine products to the main islands of Japan via a network of seasonal fisheries across Ezo. In the decades that followed Hakodate’s opening, the port’s trade and population expanded rapidly, transforming what was previously described as “a long fishing village” into a bustling port of over 50,000 by the mid-1880s. Nonetheless, this paper will argue that this expansion was not primarily a result of the opening of Hakodate to international trade; rather, it was the opening of Hakodate’s hinterland—Ezo, or from 1869, Hokkaido—which allowed Hakodate to prosper, enhancing its existing role as a hub for the marketing and distribution of northern marine products throughout Japan. The fact that foreign traders struggled to make any inroads into Hakodate’s principal trades serves as a warning to scholars not overstate the transformative capacity of western capitalism everywhere in East Asia.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"8 1","pages":"103-137"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67582029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-12-01eCollection Date: 2016-01-01DOI: 10.3762/bjoc.12.254
Vladimir A Stepchenko, Anatoly I Miroshnikov, Frank Seela, Igor A Mikhailopulo
The trans-2-deoxyribosylation of 4-thiouracil (4SUra) and 2-thiouracil (2SUra), as well as 6-azauracil, 6-azathymine and 6-aza-2-thiothymine was studied using dG and E. coli purine nucleoside phosphorylase (PNP) for the in situ generation of 2-deoxy-α-D-ribofuranose-1-phosphate (dRib-1P) followed by its coupling with the bases catalyzed by either E. coli thymidine (TP) or uridine (UP) phosphorylases. 4SUra revealed satisfactory substrate activity for UP and, unexpectedly, complete inertness for TP; no formation of 2'-deoxy-2-thiouridine (2SUd) was observed under analogous reaction conditions in the presence of UP and TP. On the contrary, 2SU, 2SUd, 4STd and 2STd are good substrates for both UP and TP; moreover, 2SU, 4STd and 2'-deoxy-5-azacytidine (Decitabine) are substrates for PNP and the phosphorolysis of the latter is reversible. Condensation of 2SUra and 5-azacytosine with dRib-1P (Ba salt) catalyzed by the accordant UP and PNP in Tris∙HCl buffer gave 2SUd and 2'-deoxy-5-azacytidine in 27% and 15% yields, respectively. 6-Azauracil and 6-azathymine showed good substrate properties for both TP and UP, whereas only TP recognizes 2-thio-6-azathymine as a substrate. 5-Phenyl and 5-tert-butyl derivatives of 6-azauracil and its 2-thioxo derivative were tested as substrates for UP and TP, and only 5-phenyl- and 5-tert-butyl-6-azauracils displayed very low substrate activity. The role of structural peculiarities and electronic properties in the substrate recognition by E. coli nucleoside phosphorylases is discussed.
{"title":"Enzymatic synthesis and phosphorolysis of 4(2)-thioxo- and 6(5)-azapyrimidine nucleosides by <i>E. coli</i> nucleoside phosphorylases.","authors":"Vladimir A Stepchenko, Anatoly I Miroshnikov, Frank Seela, Igor A Mikhailopulo","doi":"10.3762/bjoc.12.254","DOIUrl":"10.3762/bjoc.12.254","url":null,"abstract":"<p><p>The <i>trans</i>-2-deoxyribosylation of 4-thiouracil (<sup>4S</sup>Ura) and 2-thiouracil (<sup>2S</sup>Ura), as well as 6-azauracil, 6-azathymine and 6-aza-2-thiothymine was studied using dG and <i>E. coli</i> purine nucleoside phosphorylase (PNP) for the in situ generation of 2-deoxy-α-D-ribofuranose-1-phosphate (dRib-1P) followed by its coupling with the bases catalyzed by either <i>E. coli</i> thymidine (TP) or uridine (UP) phosphorylases. <sup>4S</sup>Ura revealed satisfactory substrate activity for UP and, unexpectedly, complete inertness for TP; no formation of 2'-deoxy-2-thiouridine (<sup>2S</sup>Ud) was observed under analogous reaction conditions in the presence of UP and TP. On the contrary, <sup>2S</sup>U, <sup>2S</sup>Ud, <sup>4S</sup>Td and <sup>2S</sup>Td are good substrates for both UP and TP; moreover, <sup>2S</sup>U, <sup>4S</sup>Td and 2'-deoxy-5-azacytidine (Decitabine) are substrates for PNP and the phosphorolysis of the latter is reversible. Condensation of <sup>2S</sup>Ura and 5-azacytosine with dRib-1P (Ba salt) catalyzed by the accordant UP and PNP in Tris∙HCl buffer gave <sup>2S</sup>Ud and 2'-deoxy-5-azacytidine in 27% and 15% yields, respectively. 6-Azauracil and 6-azathymine showed good substrate properties for both TP and UP, whereas only TP recognizes 2-thio-6-azathymine as a substrate. 5-Phenyl and 5-<i>tert</i>-butyl derivatives of 6-azauracil and its 2-thioxo derivative were tested as substrates for UP and TP, and only 5-phenyl- and 5-<i>tert</i>-butyl-6-azauracils displayed very low substrate activity. The role of structural peculiarities and electronic properties in the substrate recognition by <i>E. coli</i> nucleoside phosphorylases is discussed.</p>","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"1 1","pages":"2588-2601"},"PeriodicalIF":2.7,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5238616/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69922076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-11-22DOI: 10.1163/23751606-01201006
A. Makarychev
The paper explores the identitarian context of Russia’s cinematic narratives on the war in Chechnya. It draws on various strategies of war representation through films and uncovers their ideological and political underpinnings. The author explicates how the cinematographic imagery grounded in the Chechen war experience boosts the hegemonic discourse of the Kremlin, and then discusses whether fictional films deliver critical or counter-hegemonic arguments.
{"title":"The War in Chechnya in Russian Cinematographic Representations: Biopolitical Patriotism in 'Unsovereign' Times","authors":"A. Makarychev","doi":"10.1163/23751606-01201006","DOIUrl":"https://doi.org/10.1163/23751606-01201006","url":null,"abstract":"The paper explores the identitarian context of Russia’s cinematic narratives on the war in Chechnya. It draws on various strategies of war representation through films and uncovers their ideological and political underpinnings. The author explicates how the cinematographic imagery grounded in the Chechen war experience boosts the hegemonic discourse of the Kremlin, and then discusses whether fictional films deliver critical or counter-hegemonic arguments.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"12 1","pages":"115-135"},"PeriodicalIF":0.0,"publicationDate":"2016-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01201006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64624368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-11-22DOI: 10.1163/23751606-01201007
T. Huttunen, J. Lassila
This article examines the Russian writer and publicist Zakhar Prilepin, a visible representative of Russiaʼs patriotic currents since 2014, and a well-known activist of the radical oppositional National Bolshevik Party ( NBP ) since 2006. We argue that Prilepinʼs public views point at particular catachrestic political activism. Catachresis is understood here as a socio-semantic misuse of conventional concepts as well as a practice in which political identifications blur the distinctions defining established political activity. The background for the catachrestic politics, as used in this article, was formed by the 1990s post-Soviet turmoil and by Russiaʼs weak socio-political institutions, which facilitate and sustain the space for the self-purposeful radicalism and non-conformism – the trademarks of NBP . Prilepinʼs and NBP ʼs narrated experience of fatherlessness related to the 1990s was compensated by personal networks and cultural idols, which often present mutually conflicting positions. In Pierre Bourdieuʼs terminology, Prilepin and the Nationalist Bolshevik’s case illustrate the strength of the literary field over the civic-political one. Catachrestic politics helps to conceptualize not only Prilepin’s activities but also contributes to the study of the political style of the National Bolshevik Party, Prilepinʼs main political base. As a whole, the paper provides insights into the study of Russiaʼs public intellectuals who have played an important role in Russiaʼs political discussion in the place of of well-established political movements.
{"title":"Zakhar Prilepin, the National Bolshevik Movement and Catachrestic Politics","authors":"T. Huttunen, J. Lassila","doi":"10.1163/23751606-01201007","DOIUrl":"https://doi.org/10.1163/23751606-01201007","url":null,"abstract":"This article examines the Russian writer and publicist Zakhar Prilepin, a visible representative of Russiaʼs patriotic currents since 2014, and a well-known activist of the radical oppositional National Bolshevik Party ( NBP ) since 2006. We argue that Prilepinʼs public views point at particular catachrestic political activism. Catachresis is understood here as a socio-semantic misuse of conventional concepts as well as a practice in which political identifications blur the distinctions defining established political activity. The background for the catachrestic politics, as used in this article, was formed by the 1990s post-Soviet turmoil and by Russiaʼs weak socio-political institutions, which facilitate and sustain the space for the self-purposeful radicalism and non-conformism – the trademarks of NBP . Prilepinʼs and NBP ʼs narrated experience of fatherlessness related to the 1990s was compensated by personal networks and cultural idols, which often present mutually conflicting positions. In Pierre Bourdieuʼs terminology, Prilepin and the Nationalist Bolshevik’s case illustrate the strength of the literary field over the civic-political one. Catachrestic politics helps to conceptualize not only Prilepin’s activities but also contributes to the study of the political style of the National Bolshevik Party, Prilepinʼs main political base. As a whole, the paper provides insights into the study of Russiaʼs public intellectuals who have played an important role in Russiaʼs political discussion in the place of of well-established political movements.","PeriodicalId":42064,"journal":{"name":"Transcultural Studies","volume":"12 1","pages":"136-158"},"PeriodicalIF":0.0,"publicationDate":"2016-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/23751606-01201007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64624378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-11-22DOI: 10.1163/23751606-01201002
Boris Knorre
This article is focused on “Political Orthodoxy”, an ideological trend and sociocultural phenomenon with regard to its impact to militarization and justification of war from religious point of view. The author pays his attention to elaboration the idea of “Orthodox civilization” by the part of Orthodox nationalist teoreticians striving to transform Orthodoxy into “political religion”, he scrutinizes development of eschatological ideologems and war apologia that appeared alongside this process. He examines the models of mythological outlook connected with Political Orthodoxy as manifested throughout the last decade, in particular with reference to the Russia-Ukraine conflict. Through the lens of the latter the author gives examples of practical embodiment of religiously influenced militaristic discourse, shows some epiphenomena (side effects), in particular, hate, aggravation of the conflicts, separation into ‘friends’ and so on.
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