Battlefields have a particular hold on the imagination, inviting those who visit them to make conscious links between physical places and what is known to have happened there. People may align themselves with one or other of the protagonists and celebrate or regret a victory or defeat. Beyond the partisan, however, there is also the human response; reflections, perhaps, on the horror of war and its futility, the harm done to civilians, the affront to civilized values and the betrayal of (...) non-violent ways to resolve conflict. Beneath or alongside these reactions sits the possibility for moments of affect, responses that are not immediately expressible but which are deeply felt, physical, visceral. The Battle of Towton took place on 29 March 1461, during the Wars of the Roses. This was a typical late medieval battle, fought mainly hand-to-hand, and has the unpleasant distinction of being widely believed to be the bloodiest battle ever fought on English soil. But what does it mean to people now? Emplo.. (shrink)

This article explores the ethical questions that arise from any theorisation on the destruction of historical monuments. Considering the fact that historical monuments do not directly inflict physical harm on people, the loss of life does not seem to be an issue. From a philosophical perspective, I argue that even though there might be no direct physical danger inflicted on individuals when a historical monument is destroyed, there are some ethical questions which require attention when dealing with the contexts. To (...) buttress my point, I argue that historical monuments might have negative or positive impact on society, and they represent narratives that must be engage rather than erased. I will present a general view on how the destruction of historical monuments has been perceived before narrowing down to the destruction of Cecil John Rhodes’ in South Africa. I will conclude that, on historical grounds, the destruction of historical monument is wrong. (shrink)

Antonio Ruiz is an officer who took part in the Argentine 1976–1983 military rule and disappeared the body of a tortured woman. My aim is to offer an ethnographic account of the embodiment of the knowledge of bodies—the local moral worlds in which the officer Antonio and his wife lived and legitimated state violence by imagining themselves as victims, and Antonio subsequently followed his commander’s order and buried the body of a tortured woman. The armed forces provided soldiers of the (...) armed formal manuals in which political violence was described as an ever-present threat. At home Antonio and his wife exchanged accounts detailing the risk of armed struggle to their fledgling family, with Antonio carrying out commissions of repression as father and husband and not only soldier. The narratives officers constructed and acted upon about themselves as imagined victims linger to this day in contemporary Argentina in the form of the disappeared—the missing thousands who remain unaccounted for, buried in unknown, clandestine graves or drowned alive at sea, with thousands of family members suspended in doubt, unsure where the disappeared might truly be, and whether they live or died. (shrink)

This paper seeks to redress the marginalization of Adorno in environmental philosophical discourse. Kate Soper describes two opposing ways of conceiving nature. There is the redemptive “nature-endorsing” paradigm that lays claim to the intrinsic value or “otherness” of nature. Conversely, the “nature-sceptical” approach denies that we can access originary, untouched nature. This paper argues that the significance of Adorno’s treatment of natural beauty lies in how he brings these approaches together. In writings that resonate with the dual connotations of Sebald’s (...) phrase “after nature”, Adorno both affirms the skeptical point that we cannot transcend a human history alienated from nature as well as retaining redemptive hope wherein art “after” nature seeks creative possibilities from out of the very ruins of history marked by nature’s destruction. (shrink)

This essay interrogates ignored works of art as a special kind of object that can shed some light on the nature of contemporary art worlds, as well as on wider social processes regarding our relationship with things and with our past. It provides a materialist perspective focused on discarded objects as an alternative to a mystifying view of the artworld that takes artistic autonomy for granted and obliterates the social conditions of creativity and success. Ignored works are normally outside the (...) reach of art history and the sociology of art, yet the increasingly bigger realm of unrecognized and unvalued art provides, after the failure of the historical avant-garde, a space where critical autonomy can still develop. This essay attempts to illuminate this mostly invisible realm by relating it to other similar categories such as waste and forgetting. Finally, ignored works’ connection to notions of authenticity is pointed out. (shrink)

Since the official history-writing is a defining aspect for the formation and consolidation of nation-states, it is crucial to explore the attempts to legitimize particular discourses regarding historical atrocities. The selective representations of the past, in this regard, contradict counter-memories and propagate hegemonic patterns of remembrance and/or forgetting of past crimes. This article accordingly addresses how the representations of counter-memories as threats to national security and the silencing of gender-specific experiences and remembrances by sanctioned historical narratives become manifest in the (...) history-making of the Turkish nation-state. By focusing on the Holocaust and the Armenian Genocide as two cases of crimes against humanity, it is intended to discuss the shifting positions and roles that the Turkish state adopts in the remembering and forgetting of historical offences. The article argues that through prioritizing national security and national interests, the securitization of memory reconstructs collective traumas of distinct ethnic and religious groups on the basis of a nation-state’s perceived internal and external threats. It also claims that the competing voices of women and their distinct experiences and patterns of remembrance and forgetting past atrocities are suppressed for the sake of the preservation of national security. By incorporating the issue of gender into the debate on the securitization of memory, this article elucidates the mismatch between positions of femininity and masculinity within the official national historiography of the Turkish state. (shrink)

The work of Ivan Vladislavić is well established in his native South Africa, and increasingly recognized on the larger world stage of writing, editing and publishing. If his work nevertheless eludes scrutiny in some quarters, this may also have to do with its nature, and not only with its origin. The works differ and vary; there is no formula or project which proceeds neatly by sequence. No single work can be second-guessed from any other. This is a project full of (...) surprises, connecting variously to art, photography, architecture and to urban studies, setting to work images and practices at once realist and surreal, absurdist and layering, and given to time and place and the universal. How then do we read it, and how does he write? For the purposes of this paper, we explain and locate our enthusiasm with reference to two works, The Restless Supermarket and Portrait with Keys. We seek to identify some key tropes about place and place-writing and cities and city-writing with reference to Johannesburg and the way in which Vladislavić plays his subjects and his readers, placing not only fiction under question but placing writing itself closer to the editor’s deletion mark. This may be, we suggest, a kind of writing sideways. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)