Self-Determination, Sovereignty and History: Situating Zionism in the Settler-Colonial Archive

Pre-existing models of Zionism as a Central European organic nationalist movement have sought to locate its rise to historic prominence primarily in the context of British imperial instrumentality which Zionist national histories themselves that have sought to emphasize. This thesis finds this specific connection unsatisfying, and therefore takes a broader historic and thematic view. Using the settler colonial research paradigm as a starting point, and its inherently comparative, trans-national and trans-historical perspective, it will attempt to trace several genealogies. The first, of the post-Enlightenment construction of the reasoning subject and the theory of self-determination, would be constituted against, and in front of, or prior to, the extended world, and the Others of a similarly constructed “mankind” that were seen to inhabit it. Through the philosophies of these self-determining subjects in common, in relation to private property and to the state that would secure it for them, it will come to an as yet unresolved problem of the sovereign subject and the universalization of that subject’s freedom in the sovereignty of the modern democratic state, a problem that many European thinkers would seek the resolution of in the potentiality of the settler colonial frontier. A second genealogy will trace the self-determining subjects of post-Enlightenment philosophy as they made their transits on the stage of history in and between what James Belich termed the “Settler Empire.” This imperium, encompassing the Second British Empire and the United States of America, contained and produced imagined communities, myths of racialized identity, technologies of racial government and settlement and attitudes to history and the future of the planet, that prefigured Zionism and practices of the state of Israel, which have proven to be one of its lasting legacies. A final genealogy will trace the sacred and secular messianic of Protestantism in Britain and America, which I argue after Gabriel Piterberg and Amnon Raz-Krakotzkin shows that Zionism is largely a continuance of Christian historicism and restorationist traditions rather than of the Jewish tradition and that the history of Protestantism in the settler colonial world had profound import on this development historically. This argument is reinforced by a close reading of key Christian and Jewish Zionist texts, analysed from the perspective of comparative settler colonial studies. This reveals that key ideological tropes of Zionism were pre-figured in the Christian Zionist tradition, that Jewish Zionism re-articulated Christian restorationist traditions, and importantly, that the legacies of settler colonial histories played an important role in shaping the development of Zionist ideology and the work of some of its key thinkers. The genealogy ultimately concludes that British elites and Zionist lobbyists in 1917 in many ways shared the same teleology of history and notion of history itself and their adoption of the Balfour Declaration was in large part consequence of this. The thesis closes by returning to the question of the unresolved problem of the universalization of self-determination in the modern democratic state and the question of sovereign violence in said state. This was a problem that European thought arguably has never fully resolved, but has found a heuristic outlet for the playing out of these issues in the open frontier of the settler colonies. We will show h0w profoundly dangerous a heuristic scheme this is by closely examining the play of sovereignties on the settler colonial frontier in America, Australia and then in contemporary Palestine, to indicate that such heuristic outlets are not to be seen as “practices of freedom” but rather mechanisms of structural invasion, elimination, and necropolitical violence

Keys to The Gift

"Yuri Leving’s Keys to The Gift: A Guide to Vladimir Nabokov’s Novel is a new systematization of the main available data on Nabokov’s most complex Russian novel, The Gift (1934–1939). From notes in Nabokov’s private correspondence to scholarly articles accumulated during the seventy years since the novel’s first appearance in print, this work draws from a broad spectrum of existing material in a succinct and coherent way and provides innovative analyses. The first part of the monograph, “The Novel,” outlines the basic properties of The Gift (plot, characters, style, and motifs) and reconstructs its internal chronology. The second part, “The Text,” describes the creation of the novel and the history of its publication, public and critical reaction, challenges of English translation, and post-Soviet reception. Along with annotations to all five chapters of The Gift, the commentary provides insight into problems of paleography, featuring a unique textological analysis of the novel

Animals in Our Midst: The Challenges of Co-existing with Animals in the Anthropocene

This Open Access book brings together authoritative voices in animal and environmental ethics, who address the many different facets of changing human-animal relationships in the Anthropocene. As we are living in complex times, the issue of how to establish meaningful relationships with other animals under Anthropocene conditions needs to be approached from a multitude of angles. This book offers the reader insight into the different discussions that exist around the topics of how we should understand animal agency, how we could take animal agency seriously in farms, urban areas and the wild, and what technologies are appropriate and morally desirable to use regarding animals. This book is of interest to both animal studies scholars and environmental ethics scholars, as well as to practitioners working with animals, such as wildlife managers, zookeepers, and conservation biologists

Keys to The Gift

"Yuri Leving’s Keys to The Gift: A Guide to Vladimir Nabokov’s Novel is a new systematization of the main available data on Nabokov’s most complex Russian novel, The Gift (1934–1939). From notes in Nabokov’s private correspondence to scholarly articles accumulated during the seventy years since the novel’s first appearance in print, this work draws from a broad spectrum of existing material in a succinct and coherent way and provides innovative analyses. The first part of the monograph, “The Novel,” outlines the basic properties of The Gift (plot, characters, style, and motifs) and reconstructs its internal chronology. The second part, “The Text,” describes the creation of the novel and the history of its publication, public and critical reaction, challenges of English translation, and post-Soviet reception. Along with annotations to all five chapters of The Gift, the commentary provides insight into problems of paleography, featuring a unique textological analysis of the novel

Ancient Tahitian Society

“Tahiti is far famed yet too little known.” Thus wrote J. M. Orsmond in 1848, and the same assertion can be made in 1972. Thousands of pages had been published about Tahiti and its neighboring islands when Orsmond uttered his judgment, and tens of thousands have been published since that time, but a unified, comprehensive, and detailed description of the pre-European ways of life of the inhabitants of those Islands is yet to appear in print. The present work, lengthy as it is, makes no such claim to comprehensiveness; rather, it is concerned mainly with the social relations of those inhabitants, and it serves up only enough about their technology, their religion, their aesthetic expressions, and so forth to place descriptions of their social relations in context and render them more comprehensible. Volumes 1 and 2 of this work are a reconstruction of the Islanders’ way of life as it was believed to have been just before it began to be transformed by European influence—a period labeled the Late Indigenous Era. Volume 3 covers events in Tahiti and Mo‘orea from about 1767 to 1815—a period labeled the Early European Era

The battle of the stages : the conflict between the theatre and the institutions of government and religion in England 1660-1890

Between 1660 and 1880 a number of Royal Patents were granted and Acts of ParI iament passed whose purpose and effect, it has generally been acknowledged, was to restrict the spread and availability of English theatre, in particular that within the two cities of the metropolis, and to limit its potential as a forum of debate for the examination of ideas or the promotion of political dissent. During the same period, although not necessarily at the same time, theatre came under fire from religious groups of many different denominations. This condemnation and the measures taken by this special interest group in society to combat the influence of the stage has also been held to have had a restrictive effect on the institution of theatre. This research has been primarily based on an examination and analysis oflegislation, parliamentary debates, religious tracts, papers and letters in Lambeth Palace Library, letters in the Manuscript Department of the British Library, theatre texts, the writings of contemporary theatre critics, articles in contemporary newspapers and journals specialising in theatrical topics, specialist reports and magazines published by various religious denominations, contemporary pamphlets, diaries, biographies, theatre ephemera and current critical writing in specialist magazines and books devoted to theatrical and religious topics. After discussing the reasons for setting the parameters of 1660 and the late 1880s for this research, the thesis considers the importance of the institution of theatre in the particular period studied and its relationship to the whole panorama of the history of theatre. After detailing a number of questions regarding the purpose of theatre and the effect it has and has had on society, this research examines the objects, effects and motivation behind the main statutes that were enacted to deal with the phenomenon of theatre between 1660 and 1880. In particular the genesis and context of The Restoration Patents, the Licensing Act (1737), the Disorderly Houses Act (1751), the Theatrical Representations Act (1788), the failed Sadler's Wells Bill (1788), and Interludes Bill (1788), and the Theatres Act (1843) have been examined, the aims of each debated and the effects of each of the legislative measures on theatre as a whole is explored. The opposition that came from religious forces within the country during the period under study is also examined and analysed. The complaints from Church and Chapel were various: blasphemy, indolence, vice, perversion (particularly of the young), consorting with unwholesome company and drawing people away from God were all cited as sins of the stage. The underlying causes ofthe censure of important religious figures as well as that which came from different denominations is examined. The various measures put into operation to combat the dangers perceived to be coming from theatre are explored and their efficiency debated. Finally the study examines the nature of the theatrical experience and how this has been affected by the legislation and condemnation of the religious interest in the country. A principal conclusion is that theatre in England was not repressed or rendered impotent by any of the legislation nor was it by the tactical opposition of the religious faction in society. Indeed theatre gained strength and potency by finding ways to circumvent the opposition it encountered. So successful was it in overcoming the ploys of the legislature and religious interests and so instrumental was theatre as a focus for life in England during the period under study that both of the forces of opposition eventually had to adopt theatre as an ally in the implementation of their own political agenda

Proceedings of the 21st International Congress of Aesthetics, Possible Worlds of Contemporary Aesthetics Aesthetics Between History, Geography and Media

The Faculty of Architecture, University of Belgrade and the Society for Aesthetics of Architecture and Visual Arts of Serbia (DEAVUS) are proud to be able to organize the 21st ICA Congress on “Possible Worlds of Contemporary Aesthetics: Aesthetics Between History, Geography and Media”. We are proud to announce that we received over 500 submissions from 56 countries, which makes this Congress the greatest gathering of aestheticians in this region in the last 40 years. The ICA 2019 Belgrade aims to map out contemporary aesthetics practices in a vivid dialogue of aestheticians, philosophers, art theorists, architecture theorists, culture theorists, media theorists, artists, media entrepreneurs, architects, cultural activists and researchers in the fields of humanities and social sciences. More precisely, the goal is to map the possible worlds of contemporary aesthetics in Europe, Asia, North and South America, Africa and Australia. The idea is to show, interpret and map the unity and diverseness in aesthetic thought, expression, research, and philosophies on our shared planet. Our goal is to promote a dialogue concerning aesthetics in those parts of the world that have not been involved with the work of the International Association for Aesthetics to this day. Global dialogue, understanding and cooperation are what we aim to achieve. That said, the 21st ICA is the first Congress to highlight the aesthetic issues of marginalised regions that have not been fully involved in the work of the IAA. This will be accomplished, among others, via thematic round tables discussing contemporary aesthetics in East Africa and South America. Today, aesthetics is recognized as an important philosophical, theoretical and even scientific discipline that aims at interpreting the complexity of phenomena in our contemporary world. People rather talk about possible worlds or possible aesthetic regimes rather than a unique and consistent philosophical, scientific or theoretical discipline