This chapter traces the history of radical left party (RLP) policies and
orientation towards European integration, taking further issue with the
usefulness of the concept of ‘Euroscepticism’ as a way of encapsulating the
rich variety of views and strategies that emerge from our survey. We
consider how a wide range of factors has influenced RLPs’ attitudes towards
European integration. We aim to show how parties that saw the nation-state
as an embodiment of revolutionary and socially egalitarian values (as in the
French Jacobin tradition) are likely to differ markedly from parties whose
experience of nationalism is bitter and whose historical patrimony makes any
recourse to ‘defence of the nation-state’ problematic at best – such as the
German, Italian and Spanish parties. We analyse the legacy of RLPs’
co-operation inside the European Parliament from their first appearance
there in the 1960s until the post-1989 break-up of the Italian Communist
Party, the launch of the Confederal Group of the European United Left/Nordic
Green Left (GUE/NGL) in the European Parliament in 1994 and, eventually, the
birth of the EL in 2004.
In April 1949 the Commonwealth Prime Ministers’ meeting in London issued a joint declaration stating that it accepted India’s decision to become a republic and remain part of the Commonwealth. The Commonwealth had hitherto been a grouping of realms and colonies that owed allegiance to a common monarch. Though attention has been given to how the inclusion of India affected the Commonwealth, far less research has been given to how this transformative action influenced the monarchy. The chapter investigates the ideas that were debated at the time. Did India’s republican status within the Commonwealth spell the demise of the Crown as the embodiment of British prestige, leaving it as an embarrassing vestige of vanishing glory? Or did the 1949 London Declaration, rather, usher in a new era for the Monarch to revive the relevance of the Crown in the post-war age as Head of the Commonwealth, a position shorn of imperial pretensions and open to new international opportunities? This chapter explores whether the London Declaration, which marked the beginning of the “New Commonwealth”, also extended to making a “New Monarchy”. India had caused Victoria to be raised to the exalted status of Empress in 1876, but what would that country, less than a century later, make of her successors?
In 1992, Quentin Crisp appeared on cinema screens as Elizabeth I in Sally Potter's Orlando; the following year, he provided the 'Alternative Queen's Message' on Channel 4 television on Christmas Day, going head-to-head with Elizabeth II. This chapter will revisit this cultural moment, examining the significance of Crisp's perfonnances of 'queenliness'. The late 1980s/early 1990s heralded a shift away from the lesbian and gay politics of the 1970s and '80s towards a more confrontational queer activism. Orlando can be seen as an example of early queer cinema, given its play with gender and sexuality, and Potter's casting of Tilda Swinton (a regular collaborator of Derek Jannan). Other queer films of the time also unsettle and complicate particular moments in history, and equally employ a pointedly artificial mise-en-scene (Jannan's Edward II, Julien's Looking for Langston, Kalin's Swoon). How does Crisp's appearance - as an embodiment of the flaming, camp homosexual - complicate the film's politics of sexuality? Does it articulate a political ' clearing of the ground', with an older gay culture (Elizabeth) giving way to a fresh queer one (Orlando)? This chapter will consider the film as a provocative transition between particular forms of cultural production - bound up with changing attitudes towards the monarchy itself.
Amateur film, civic culture and the rehearsal of monarchy
Dating from as early as 1906, a large number of amateur films commemorate royal visits to Scotland's town halls and schools. They capture- in lise Hayden's terms - the 'minor events' of British royalty where the monarchs' physical presence and symbolic embodiment are balanced on a 'knife's edge' as both their 'ordinariness' and uniqueness must be maintained simultaneously. This tension explains why the choreographing of these events is often (wearily) similar and the films boring. Nonetheless, these amateur films sometimes capture moments of contingency (the look at the camera, the unseemly exuberance of children) that expose the limits of this balancing act and the 'work' that underpins the perfonnance of monarchy. Conversely, in many cities across Scotland these royal encounters have been re-imagined in pageants and gala days also commemorated in amateur films. In these films, children take on royal functions, becoming fleshy 'effigies' of the monarch in ritualistic performances that dramatize the ambiguous origins of royal pageantry, whether the monarchs involved are 'real' or 'fake'.
This chapter examines the durational live art performance bit-u-men-at-work. Created and performed as part of Performing Mobilities 2017, a city-wide festival in Melbourne, the work was the embodiment of a performance-as-research process with an agenda informed by post-human, new materialist and ecofeminist notions of material ecologies. Though the performance set out to investigate, question and possibly reconcile the abhorrent physical and cultural qualities of bitumen as a fossil fuel material, the industries invested in it and the social labour practices surrounding it, gestures of intimacy and care associated with repair emerged as significant transferable values towards developing an ethical material practice. The performance, as an artistic work, also attempted to extend theories, notions and practices of care to an earthly, exploited and assumed inert material, expanding socially driven conversations around care to ecological caring as a world-making activity. Affective labours of material care were enacted through strategies of becoming-other, intimate proximity and engrossment, seeking to cultivate ‘response-ability’ to the material other and beginning to generate a material-led aesthetics of care.
registers of the term sic and its use throughout
the book, while releasing/turning towards other dance and political theorists who have considered the relationship between dance and writing.
Two books in particular have discussed inscription within the discipline of political theory and embodiment theory. Carrie Noland’s Agency
and Embodiment: Performing Gestures/Producing Culture discusses the
communicative power of gesture and reinstates embodied discourses in
a performative setting. She argues that gesture is a phenomenologically
independent world constructed
was able to survive, albeit outside of this framework, when paramilitary groups,
most notably the UVF, were formed shortly before the outbreak of the First
World War, and continued to survive throughout the Troubles.
Even before the first embodiment of the Irish militia during the Crimean
War, political considerations were in the forefront of the minds of policymakers, which partly explains why it was not embodied at the same time as
its English counterpart. These political considerations continued to shape any
decision made with regard to the auxiliaries in
impossible to teach the men to march steadily up and
down the hill. This was not remedied until August 1855 when the regiment was
moved to Dundalk Cavalry Barracks, where ‘the parade ground was large enough
MAD0316 - BUTLER 9780719099380 PRINT.indd 141
The Irish amateur military tradition
and level’.2 Similar scenes were noted in other regiments, for instance when it
was recorded that, although the Longford Militia had mustered 386 privates in
the first three months of its embodiment, it had been furnished with only seventy
stands of arms, ‘an
Edward Shils – the ‘outsider’
Stephen Turner introduced this volume by pointing out the many contradictions in Edward Shils’ thinking. The focus of these concluding comments is to add to Turner’s account by addressing Shils’ influence and by
evaluating his successes and failures. Not only did Shils embody many
contradictions, but he was also the embodiment of an ‘outsider’. Born
to Russian immigrant parents and brought up in Pennsylvania in the
United States, he was drawn to an eclectic and wide range of authors
ambivalent position both at the core of the inside yet on the outside:
an insider-out. The orphan is perceived of as a racialised other who is,
through emigration, involved in a programme of racial cleansing as
Victorian Britain attempted to displace the racialised indigenous other
in the colonies. Orphanhood, and the unknown genealogy it implies, is
also the embodiment of Victorian culture’s fears of illegitimacy