Kipling and the Jews

’t look like a Jew and he ought to’.49 While his empty materialism (‘Things that grow up in a night’) is not racialised, it is contrasted with the very real night-terrors which Mrs Skittleworth and her party encounter in the theatre box: ‘It was unspeakable. It was Chaos – raving, mad, howling Chaos!’ The unexplained ‘darkness of terror’ affects those in the haunted theatre box in different ways. As Mrs Skittleworth observes, Geissler com­pletely loses control and, after succumbing to the ‘Powers of Darkness’, finally looks like a ‘Jew’: All the Jew that ever cheated

in In Time’s eye
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Labour, class, environments and anthropology

increasingly hollow. Perhaps, then, it is time for anthropologists to return the focus of our analysis back to work and production, and away from what Jackson describes as the ‘enchantment of things’ (2007: 77). Marx made a strikingly similar criticism of the materialism of a different era when he argued that ‘the chief defect of all previous materialism … is that things, reality, sensuousness are conceived only in the form of the object, or of contemplation, but not as human sensuous activity, practise, not subjectively’ (1998 [1845]: 572). Throughout this book I have taken

in Environment, labour and capitalism at sea
(eco)feminist interpellations of Chineseness in the work of Yuk King Tan, Cao Fei, and Wu Mali

environmental and labor issues in the last decade or so have contributed to a dialectical materialism for the current conditions of global capitalism. The cycle of economic boom characterized by the ‘made in China’ trope in the twenty-first century, emerging successively after the ‘made in Taiwan’ label of the twentieth-century, has accelerated the conditions of environmental crisis. Situated in the circuit of multi-national trade, moving rapidly since the 1990s, Tan, Cao, and Wu’s subjects expose the ways in which environmental concerns are explicitly connected to the

in Staging art and Chineseness

’ (censorship as a repressive, external threat to essential freedoms) that has been adopted by ‘political critics’ working on the early modern period (particularly British cultural materialists), which ‘makes available in the Renaissance a certain essentially moral notion of critical opposition’. ‘By extension,’ argues Burt, ‘a similar kind of critical opposition becomes available in the present.’4 This situation may well have come about, as Robert Young has noted, because cultural materialism as a broadly leftist critical practice has pretty much supplanted or displaced the

in Francis Bacon’s New Atlantis

, and science (materialism), as male. Significantly, Picasso completed many religious themed paintings during this period and several of these included the Sisters of Charity. One such image specifically addressed the most important, miraculous moment in that Order’s history. The pen and watercolour sketch titled A Holy Vision – Revelation of the Miraculous Medal from 1896 (Figure 5), according to Richardson, was loosely modelled on Bartolomé Murillo’s Aparación de la Virgen a San Ildefonso (San Ildefonso Receiving the Chasuble from the Virgin) (c.1650–55). Picasso

in Spain in the nineteenth century
Christian and Jewish eudaimonism in The Merchant of Venice

moral philosophy than Galenic physiology. 8 And yet despite his lack of medical training, Perrott adopts many of the same strategies of emo tional self-management that scholars typically cite in discussions of Galenic materialism, directing them towards more explicitly philosophical ends. In his treatise, Perrott focuses on self-understanding and describes it as a basic precondition for the

in The Renaissance of emotion
Open Access (free)
On Anglo-Saxon things

‘Thing Theory’ (2001) and his book A Sense of Things (2003), Bill Brown developed a more nuanced definition of ‘thingness’ as that which is excessive in objects, beyond their mere materialisation or utilisation.4 Brown seeks at once to problematise and promote the task of connecting ‘things’ with ‘theory’. The form of criticism he sets out moves previous work on materialism forward by drawing on a Heideggerian account of the way in which humans share agency with their tools and by borrowing from Heidegger a distinction between objects and things.5 Brown claims that we

in Nonhuman voices in Anglo-Saxon literature and material culture
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, perspective and representation remain possible for political actors, but are rendered much more difficult than in the context of the city-state. Increasingly, the technologies that war has created corrupt politics by their implications for the space-time of polities and for the possibilities of control of large populations, whether through direct coercion, manipulation or materialism. Trains, steamships, cars and aeroplanes reconfigure the relation between space and time. In this new chronos, there is a lack of fit between the human time of speech and action and the time of

in Time and world politics

urban society, the USSR in the 1950s and 1960s was comparable to European countries whose material environment had been severely damaged by the Second World War.5 As Kozlov and Gilburd note, ‘Unprecedented in the household context, Khrushchev’s mass housing campaign belonged with contemporary trends in urban planning, construction technology, welfare and aesthetic vision’. They label the government’s effort to reinforce its legitimacy by increasing people’s material prosperity and paying greater attention to consumer goods as the ‘Soviet regime’s new materialism’.6

in Comradely objects

traditional idealism to historical materialism, and from bourgeois individualism to radical individualism. This undermines critique at the same time that it enables apology to mix and match idealist and liberal arguments for strategic and ideological purposes. 4 Might one think instead about possible moments of transition from traditional idealism to critical idealism, and from a legal theory of legitimacy (sovereignty) to a theory of legitimate law

in Beyond hegemony