Provides a broad European and cross-cultural perspective on the theory and practice of literature and the Left over the past 50 years.

In the wake of Stalin’s death and the publication of Aleksandr Solzhenitsyn’s early fictions, Georg Lukács claimed to discern a revivification of socialist realism, the officially-sanctioned school of Soviet literature. A furtherance of that process was integral to the “renaissance of Marxism” and vitalization of socialist democracy that he hoped would restore the faith in socialism shaken by the Stalinist era. Although he dared not admit it, he envisioned a socialist realism cast in the (...) image of bourgeois “critical realism.”. (shrink)

Realism and Russia? Realism is a notion with multiple meanings, so options abound as to how the two might connect with one another. An old Russian proverb conveys a realist message about social properties: "An individual in Rssia was composed of three parts: a body, a soul, and a passport." (Ruben 1985, 83) Having a passport signals the possession of a complex set of social properties, and if these are taken to be real in some appropriate sense, one (...) is inplying a realist view in social ontology. In another sense of the word, realism is a live issues in the study of international relations. Political realism considers the behaviour of states by emphasizing the importance of national interests and the drive for power on the one hand, and the suppression of moral concerns on the other (e.g. Donnelly 2000). Russian realists hold diverse views about the newly emerged unipolar global power structure and Russia's proper strategy for adjusting to this structure (e.g. Shakleyina and Bogaturov 2004). Realism is a family of viewpoints also in the arts (including painting, music and literature) and their study. Socialist realism is a version that used to be an official doctrine in Russia, gently requesting artists to optimistically represent society's march towards communism, glorifying the heroic role of the proletariat in driving the process. Socialist realism was also well known elsewhere. So much so that in the 1970s, a philosophy professor at the University of Helsinki announced to give a lecture course on "scientific realism" but on its way to the university catalogue through the university administration, the title of the course was transformed into "socialist realism". In the spirit of rectifying that old administrative mistake, the remards to follow deal with scientifit realism as a philosophy of science. The general issue to be addressed is how the social sciences relate to the social world, in both directions. (shrink)

Few aspects of American military history have been as vigorously debated as Harry Truman's decision to use atomic bombs against Japan. In this carefully crafted volume, Michael Kort describes the wartime circumstances and thinking that form the context for the decision to use these weapons, surveys the major debates related to that decision, and provides a comprehensive collection of key primary source documents that illuminate the behavior of the United States and Japan during the closing days of World War II. (...) Kort opens with a summary of the debate over Hiroshima as it has evolved since 1945. He then provides a historical overview of thye events in question, beginning with the decision and program to build the atomic bomb. Detailing the sequence of events leading to Japan's surrender, he revisits the decisive battles of the Pacific War and the motivations of American and Japanese leaders. Finally, Kort examines ten key issues in the discussion of Hiroshima and guides readers to relevant primary source documents, scholarly books, and articles. (shrink)

Success in Soviet trade negotiations depends to a great extent on the images that the Soviet negotiators form of their Western counterparts. These images, in turn, depend to a great extent on the images presented to such Soviet negotiators during their education, through various tales and stories.

The article contains the conceptual vision of socialist realism as one of the key characteristics of art, transformed in the postmodern cultural era. Social realism is a cultural manifestation of the historical development of Soviet republics, including the Ukrainian SSR. The essence of socialist realism is seen as a manifestation of ideology in the Soviet conditions. Besides, the article considers the phenomenon in the context of postmodernism, relying on the findings of various scholars, and describes (...) the interaction between postmodernism and socialist realism. Despite the general view that postmodernism emerged in the United States and Western Europe in the 1960s-1970s, there could be another way this movement evolved in fine art and architecture. The fact that the artists from the post-Soviet space managed to adapt to the global cultural field of postmodernism so swiftly proves that the totalitarian system failed to eliminate the plurality of opinions. A post-Soviet variant of postmodernism was largely defined by the influence of socialist realism. The recently proclaimed era of post-truth that allegedly started after the new millennium produced fascinating political and artistic experiments in the post-Soviet space. Hence, it would be logical to assume that some previously developed mechanisms were activated there. Post-truth as an instrument of politics in that sense resonates with the socialist realism used as an instrument of class struggle. Research methods include description, synthesis and analysis. (shrink)

The paper aims to present the philosophical background and justification of the theory of social realism. Social realism is a representative example of a literary period in which the autonomy of literature in terms of, for example, the aesthetic value of a literary work, was brought to a negligible level given the radical demands of regime poetics of writing in accordance with politics and ideology. Socialist-realism, poetics in which party writing and educating people in the (...) form of socialist progress and without any concern about literary creation are paramount, finds its postulates in theories of the Union of Russian Proletarian Writers (RAPP) and proletarian cultural and educational organization (Proletkult). Theorists of socialist realism poetics claim that their postulates find philosophical justification in Marx’s and Engels’ texts about art. The primary subject of analysis in the article will, therefore, be the connection between the theory of social realism and the classical Marxist conception of art. Based on the analysis, it can be concluded that the theory of social realism is justified by classical Marxist aesthetics regarding historical materialism which determines art, but not in the sense of denying the autonomy of the art. (shrink)

Are any conclusions to be had? We have shown how, at all levels, the system of Soviet literature, has both persisted and fallen into disrepair. The rigid model of socialist realism that took hold during the Ždanovist period no longer exists. However, its presence is still felt not only as a constant negative point of reference, but through the numerous structures that grew out of it. Changes set in motion during the thaw continue at an accelerated pace (...) for the sake ofperestrojka. All the same, five years later the latter has yet to achieve its literary revolution.There is one fundamental change. It would be an anachronism to organize today a conference on “One or two Russian literatures?,” as in Geneva some years ago. But will this merging of the separate branches of Russian literature go beyond confusion in the direction of a development describable as “organic”? Will the different components of the transformed system become compatible?Only time will tell and, it is hoped, dispell our doubts. (shrink)

In histories of Serbian painting Sreten Maric is listed among the protagonists of socialist realism, and that on the basis of a single article - his criticism of an exhibition staged by the Association of Visual Artists of Serbia to the benefit of wounded veterans. Without denying the historical basis for this judgment, the author of the present paper pleads for a more nuance approach and propounds the thesis that socialist realism was primarily a complex pattern (...) of social relations, and only in the second place a substantively defined doctrine. On the basis of an insight into the relevant sources it is argued that Maric was not a theorist of socialist realism; on the other hand, an ideologue of social painting he was indeed, believing in a synthesis of Art and Revolution. By way of comparison, the figures of Miroslav Krleza and Georg Luk?cs are referred to: neither of the two was a protagonist of socialist realism, though both belonged firmly to the so-called leftist thought. U istorijama srpskog slikarstva Sreten Maric vazi za protagonistu socijalistickog realizma, i to na osnovu jednog clanka - kritike na izlozbu Udruzenja likovnih umetnika Srbije u korist ranjenih boraca. Ne poricuci istorijsku ocenu, autor pledira za nijansiraniji stav i izlaze tezu da je socijalisticki realizam bio u prvom redu jedan sklop drustvenih odnosa, pa tek onda i neka sadrzinski odredjena doktrina. Uvidom u izvore, zakljucio je da Maric nije bio teoreticar socijalistickog realizma, ali ideolog socijalnog slikarstva jeste bio, uz veru u sintezu Umetnosti i Revolucije. Za poredjenje su mu posluzili Miroslav Krleza i Georg Luk?cs: ni jedan, ni drugi nije bio protagonista socijalistickog realizma, mada su obojica pripadala cvrsto tzv. levoj misli. (shrink)

The years of the Weimar Republic saw complex cultural change in Germany as well as political turmoil. Writing Weimar draws on the large amount of research done on the period since the 1980s in order to show how literary writers developed critical perspectives on the social and political issuesof the time, and how those perspectives were related to longer-term developments in German culture which run beyond the watershed events of 1918 and 1933. Individual chapters discuss the dominant trends in the (...) poetry, the theatre, and the novel, as well as the literary representation of the city, oftechnology, and of the First World War. The book also sheds new light on one of the abiding mysteries of German culture in the 1920s: precisely what were the implications of the term Neue Sachlichkeit as it came to be applied to the cultural trends of the time? (shrink)

Politicka istorija druge Jugoslavije neprekidno je bila sakralna, a domen sekularizacije obuhvatao je mahom samo umetnost. Informbiro i razlaz sa SSSR-om otvorio je put ka vecoj slobodi u stvaralastvu, napustajuci ideju o kontroli umetnosti u vidu socrealizma. Trece stanoviste o knjizevnosti zastupao je Vladan Desnica.

The question of the essence of contemporary socialist artistic culture is being acutely posed today, in the period of renewal of the whole life of Soviet society. To what extent does the method of socialist realism, which has become established in our theory and practice, correspond to the processes taking place within art? Is its method adequate for an all-round reflection and analysis of the entire diversity and uniqueness of today's society? After all, the method of (...) class='Hi'>socialist realism presumes a truthful, historically concrete depiction of reality in its revolutionary development, i.e., it orients the artist toward reflecting that reality only in "forms of life" and requires him to represent only progressive processes. (shrink)

Die vorliegende Arbeit stellt einen Versuch dar, Entstehung und Funktionsweise des sozialistischen Realismus in jeweils spezifischen politischen und kulturellen Kontexten zu analysieren und zu beschreiben. Eine auf den Vergleich von Prozessen und Mechanismen ästhetischer Kanonbildung in der DDR und in Polen gerichtete Perspektive erlaubt nicht nur, die Dynamik von Handlungen und Vorgängen, die sich auf die offizielle Literatur- und Kunstdoktrin bezogen, in ihrer Gleichzeitigkeit und Interferenz zu erfassen. Indem sie den "sozialistischen Realismus" als ein Normierungssystem betrachtet, dessen Beschreibungen den Anspruch (...) der politischen Eliten auf die Regulierung aller gesellschaftlichen Bereiche sichtbar macht, versucht sie zugleich, den Vermittlungszusammenhang von gesellschaftlicher Entwicklung, Kulturpolitik und literarischem resp. literaturbezogenen Handeln aufzuzeigen. (shrink)

Simone Téry (1897–1967), French journalist and novelist, joined the French Communist Party in the mid-1930s after visiting the Soviet Union. She worked as a correspondent for L'Humanité, Vendredi and Regards; the latter post took her to Spain during the Civil War. The resulting texts, Front de la liberté: Espagne 1937–1938 (1938) and Où l'aube se lève (1945), form the basis of my analysis of Téry's desire to write the history of the present in inter-war France. These texts, a work of (...) reportage and a novel respectively, illustrate the relationship between the poetic, or imaginative, and the historical, or factual, in historical fiction. This relationship is particularly relevant to the literary history of 1930s France, given the highly politicized nature of literary production in the period and the resulting debates over the nature and future of the realist novel. Téry's rejection of modernism in favour of socialist realism suggests a conversion, common in left-wing writers of the period, to the notion that the modernist text is incapable of ‘containing’ history. The essay raises the question of French women writers’ relationship to committed literature in the 1930s, and demonstrates that women were active in this domain. (shrink)

Critical realism, a philosophical framework originally developed by Roy Bhaskar in the 1970s, represents a relatively new approach to research generally and to nursing research in particular. This article explores the ontological and epistemological tenets of critical realism and examines the application of critical realist principles to nursing research and practice through a review of the literature. It is evident that few published nursing research studies have, as of yet, utilized critical realism as their paradigm of (...) choice. Both the strengths and limitations of the presentation and use of critical realism in these studies are discussed in this article. Given the varying degrees of success of the authors in explicating critical realism as a philosophical framework, the value of critical realism to the research study, and the ways in which usage of the critical realist framework influenced development of the study and interpretation of findings, it is evident that the quality of future publications espousing the use of critical realism must continue to be strengthened significantly. (shrink)

It would be no exaggeration to say that our art is presently undergoing a revolutionary stage in its development. The revolutionary renewal that has seized all spheres of life is being ever more forcefully represented in artistic culture as well. That culture is beginning to free itself from bureaucratic regimentation, incompetent pressure from above, inflated authorities, lifeless cliches, and opportunism of the moment. Art is actively seeking its place in perestroika, and is in turn in many respects defining the moral (...) climate of perestroika. Recent works such as Fire [Pozhar] by V. Rasputin, the Sad Detective Story [Pechal'nyi detektiv] by V. Astaf'ev, The Execution Block [Plakha] by Ch. Aitmatov, the paintings of G. Korzhev and V. Sidorov, the sculpture of V. Klykov, etc., are actively working for renewal. (shrink)

The article examines the phenomenon of conformism in the context of socialist realism, which for a long time was the main direction for the Soviet art sphere. Conformism is interpreted as an effective way for the artist to optimize relations with the authorities and society, giving the opportunity for social self-preservation. Conformism is a kind of strategy for artists, thanks to which they manage to achieve their creative goals and successfully exist within the established cultural framework. The author (...) of the article argues that conformism helped artists who put their creativity at the service of socialist realism to find some basis for their activities, because socialist realism did not initially have such a basis. The author comes to the conclusion that in the conditions of constant transformation of cultural requirements and the need to fully comply with them, conformism becomes for the artist not just a tactic in achieving creative goals, but also a kind of self-defense mechanism that allows to preserve mental and physical health. The most successful Soviet artists were able to realize their talent by creating many bright works of art due to the fact that they created precisely in the mainstream of socialist realism, and if it were not for it, perhaps the world would never have known about some outstanding Soviet artists, as well as not seen their works of art, since the realization of Soviet artists in another cultural environment might well not have taken place. (shrink)

Thе aim of the paper is to present the problem of boredom in Bogomil Raynov’s fourth book Travelling in Everyday Life. The interpretation of boredom in the novel is seen as based on the idea of a mismatch between expectation and experience. The expectation of the individual turns out to be modeled by the mass commercialization of the 20th century. The "cultural industry" replaces the sublime ideas of the romantic poetics with superfluous clichés, which deny the world its unpredictability, its (...) unexpectedness. It is these kinds of clichés that are subject of irony in Bogomil Raynov's novel – false expectations create a false feeling of boredom. Boredom as a problem has been rarely discussed either by Bulgarian authors, or by Bulgarian literary historians, therefore this paper tries not only to focus scholars’ attention on it, but also to interprete it. (shrink)

It Is My Pleasure To Introduce this discussion of Naoko Saito's American Philosophy in Translation. We have contributions from three experts in American philosophy, all of whom have been in conversation with the author for many years: Jim Garrison, Vincent Colapietro, and Steven Fesmire. Prior to their contributions, I would like to set the scene with some brief remarks to introduce the book and to explain something of its background.Over the past two decades, I have worked closely with Saito on (...) a number of projects, and I have been familiar with her ideas for this book since its inception. In some respects, the book is the product of studies in American philosophy that go back to her time as an undergraduate in Tokyo in the 1980s, ideas that were advanced considerably when she did an MA at Harvard, taking classes with Stanley Cavell and Hilary Putnam, and subsequently when she completed her PhD at Teachers College, with René Arcilla as her advisor and Cavell as a member of her committee. It was against this background that, in 2006, Saito published her first singly authored book, The Gleam of Light: Moral Perfectionism and Education in Dewey and Emerson. As that title indicates, she was already exploring the relation between Dewey and pragmatism, on the one hand, and American transcendentalism, on the other. Her sense back then of some separation between these traditions of thought, and of the nature of the tensions between them, has been refined and, for the most part, strengthened in the years since that earlier publication. No doubt she has been influenced in this by Cavell, who, in one essay, for example, asks: “What's the use of calling Emerson a pragmatist?” In any case, her account of this relationship is extended and altered significantly in American Philosophy in Translation.Through the course of her research, Saito has been conscious of the fact that she is studying American philosophy from a distance—a distance that is geographical, cultural, and linguistic—and she retains a thoughtful humility in relation to this. But she also sees here a possible opening to the perception and release of untapped aspects of these traditions of thought, in ways that might fertilize and extend the ground in which the inheritance of American philosophy has flourished. This is very much the line that she pursues in this book. In the light of this, and as the book's title indicates, there is a particular focus on language and translation. It is important that the latter term is understood not merely as an attractive metaphor for change and transformation: crucial to her developing argument is the experience of translating between languages and the reality of the experience in the lives of so many today, within the academy and without. In the course of this experience, one is sometimes confronted, quite self-consciously, with a word or phrase that resists translation. But sometimes—more often in the life of the accomplished or habituated speaker of the foreign language in question—the experience persists as an undercurrent, subtly opening a world that is other in some respects from the one that comes to light in the mother tongue.By contrast, to the many (especially Anglophone) monolingually minded, the need for translation can appear as an unwanted barrier, something of a nuisance, a problem to be solved. This is by no means a response confined, however, to the uneducated (or the Anglophone or the monolingual). There is also a sophisticated variant of this narrowness of outlook where faith is placed in an artificial or technical language with the power, the fantasy runs, to overcome the vagaries of natural language. Hilary Putnam recalls how Rudolf Carnap, whose stature as a thinker and as a human being he does not doubt, felt strongly that “for all x, planned x is better than unplanned x” and was drawn to the idea of a common world language: Thus the idea of a socialist world in which everyone spoke Esperanto (except scientists, who, for their technical work, would employ notations from symbolic logic) was one which would have delighted him. And I recently had a conversation with a student who remarked quite casually that it would not be a bad idea if there were only one language and one literature: “We would get used to it, and it might help to prevent war.” (Putnam 185)Putnam does not deign to respond to the latter assertion. What is foregrounded in his discussion is that monolingualism is likely to hide the plurality of goods that is realized in different cultures. The importance of that plurality is surely something that the luminaries of American philosophy bring to light. Indeed, Putnam's key point of reference in making these remarks is William James.The undercurrent of translation in the experience of the more accomplished speaker of a foreign language can act then as a sensitization to cultural difference, to different possibilities of thought and being. But in fact, this shifting of thought can apply within any language itself, not just inter- but intra-lingually, opening an insight that is close to the heart of American philosophy. If one can hear the cry of the rooster, then one may be wakened also by Thoreau's turn of expression in the idea of the “father tongue”: through a maturing experience of the language we are brought up with, we come to “a reserved and select expression, too significant to be heard by the ear, which we must be born again in order to speak” (Thoreau 69). This renewed investment in language, this continual return to our words, is what opens them to new thought and gives them interest. It is first an inheritance from the culture we are brought up in, but it dies in our speech and thinking if we do not turn it to something new. To build, we must begin by borrowing an axe, but we can return it sharper than when we borrowed it.If translation is operative in our language as a whole, as Saito's argument shows, this points to the many little rebirths within ourselves and in our interactions with one another. In fact, the point becomes political in that democracy depends upon this renewal of our words. This renewal resists not only the allure of ideology but also the now familiar etiolated rhetoric of “political realism.” Moreover, it points beyond the reliance, within the politics of recognition, on the defining of groups and categories toward a politics of acknowledgment.In this vein, Saito's outsider perspective is in tune with what Richard Bernstein has called the “global resurgence of American pragmatism.” The borderline or outsider perspective can have a powerful effect on thought, in relation to which Saito invites the reader to recall that America's past was itself an outsider-past: it was outside Europe, a relation with which it was bound to struggle, but it was also ready, as Emerson and Thoreau demonstrate, to draw from greater cultural distances, where it found congenial aspects in East Asian thought.Saito stresses the anti-foundationalist character of American philosophy as of critical importance for both philosophy and politics, and again her discussion of language is crucial to this. Dewey's emphasis on communication, with his relatively flat style of prose, is contrasted with the stylistic experiment and invention that she finds in Emerson, Thoreau, and Cavell. She sees the style of these writers, in some contrast to that of Dewey, as having a salutary, destabilizing effect. She wants to destabilize Dewey. It is entirely consonant with her position, furthermore, that she raises doubts about the bland acceptance of a politics of inclusion. Not only can this become a surreptitious form of discipline and control: it can engender the conformism that Emerson worked so hard to prevent.The book finishes on a more aesthetic note, taking up lines of thought in Dewey's aesthetics but turning this toward the more extravagant elision, in Thoreau, of the functional and the beautiful. The thematization of the aesthetic in this way is, she tries to show, crucial to our (political) world. (shrink)

The Saga of Dharmapuri by O.V. Vijayan is a dystopian fantasy set in the imaginary country of Dharmapuri, which could be a depiction of India or any other newly independent country in the post-colonial era. Mikhail Bakhtin in his treatise Rabelais and his World justifies the use of Grotesque Realism, a literary trope that allows the author to move away from the conventions of propriety and decency to convey messages that are real and powerful nevertheless. Usually exaggeration and hyperbole (...) are key elements of this style. Through the centuries, literature has often been a medium through which contemporary concerns have been transmitted. This paper argues that O.V. Vijayan uses Grotesque Realism in his novel to depict the political, social and economic condition of India of the 1970s- specifically a country that was under emergency. Like all dystopian fables, The Saga of Dharmapuri has been prophetic in anticipating some of the social issues that we face even today. The paper aims at examining how Vijayan uses explicit language and scatological and sexual imagery so as to achieve this sense of realism within his novel. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to (...) reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

The article is dedicated to ways in which authors of the socialist realism novel used the poetics of the non-fiction literature (mainly reportage). Perceiving a work of art as a cultural fact of political character had serious consequences. The literary creation was to be replaced by a reportage storyline. The outer reality was depicted in accordance with top-down guidelines of propaganda. Two strategies were used: linking poetics of documentary with belles lettres and incorporating elements typical of non-fiction (...) literature to fiction. At the same time genological “light-heartedness” of authors of socialist realism makes it now difficult to decide about typological affiliation of those works. (shrink)

Georg Lukac's most recent work of literary criticism, on the Nobel Prize winner Alexander Solzhenitsyn, hails the Russian author as a major force in redirecting socialist realism toward the level it once occupied in the 1920s when Soviet writers portrayed the turbulent transition to socialist society.In the first essay Lukacs compares the novella One Day in the Life of Ivan Denisovich to short pieces by "bourgeois" writers Conrad and Hemingway and explains the nature of Solzhenitsyn's criticism of (...) the Stalinist period implied in the situation, characters, and their interaction. He also briefly describes Matriona's House, An Incident at the Kretchetovka Station, and For the Good of the Cause -- stories that depict various aspects of life in Stalinist Russia.In the second, longer section, Lukacs greets Solzhenitsyn's novels The First Circle and Cancer Ward, which were published outside Russia, as representing "a new high point in contemporary world literature." These books mark Solzhenitsyn as heir to the best tendencies in postrevolutionary socialist realism and to the literary tradition of Tolstoy and Dostoevsky. Moreover, from the point of view of the development of the novel, Lukacs finds the Russian author to be a successful exponent of innovative methods originating in Thomas Mann's The Magic Mountain.The central problem of contemporary socialist realism is a predominant theme in the book: how to come to critical terms with the legacy of Stalin. The enthusiasm with which Lukacs acclaims Solzhenitsyn will not surprise those who have followed his persistent refusal to endorse the so-called socialist realist writers of the Stalinist era. He outlines the aspects of Solzhenitsyn's creative method that allows him to cross the ideological boudaries of the Stalinist tradition, yet he finds a basic pessimism in Solzhenitsyn's work that makes him a "plebeian" rather than a socialist writer.Of Ivan Denisovich and the future of socialist realist literature, Lukacs urges: "If socialist writers were to reflect upon their task, if they were again to feel an artistic responsibiliity towards the great problems of the present, powerful forces could be unleashed leading in the direction of relevant socialist literature. In this process of transformation and renewal, which signifies an abrupt departure from the socialist realism of the Stalin era, the role of landmark on the road to the future falls to Solzhenitsyn's story.". (shrink)

There is no serious work of which I am aware that does not consider the artistic and literary doctrine of “socialist realism” an intellectual disaster. When Zhdanov announced this doctrine as official Soviet policy at the First Congress of Soviet Writers in 1934, his words put an end to a variety of artistic experiments which had taken place within the context of the Russian and European Left during the previous two decades. Suddenly socialist realism, or Zhdanovism, (...) became the only “correct” Marxist approach to the question of what art in general, and literature in particular, should say, and how it should say it. (shrink)

Semantic realism can be characterised as the idea that scientific theories are truth-bearers, and that they are true or false in virtue of the world. This notion is often assumed, but rarely discussed in the literature. I examine how it fares in the context of the semantic view of theories and in connection with the literature on scientific representation. Making sense of semantic realism requires specifying the conditions of application of theoretical models, even for models that (...) are not actually used, which leads to several difficulties. My conclusion is that semantic realism is far more demanding than one would expect. Finally, I briefly examine some pragmatist alternatives. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

The concept of “magic realism” raises many problems, both theoretical and historical. I first encountered it in the context of American painting in the mid-1950s; at about the same time, Angle Flores published an influential article in which the term was applied to the work of Borges;1 but Alejo Carpentier’s conception of the real maravilloso at once seemed to offer a related or alternative conception, while his own work and that of Miguel Angel Asturias seemed to demand an enlargement (...) of its application.2 Finally, with the novels of Gabriel García Márquez in the 1960s, a whole new realm of magic realism opened up whose exact relations to preceding theory and novelistic practice remained undetermined. These conceptual problems emerge most clearly when one juxtaposes the notion of magic realism with competing or overlapping terms. In the beginning, for instance, it was not clear how it was to be distinguished from that vaster category generally simply called fantastic literature; at this point, what is presumably at issue is a certain type of narrative or representation to be distinguished from realism. Carpentier, however, explicitly staged his version as a more authentic Latin American realization of what in the more reified European context took the form of surrealism: his emphasis would seem to have been on a certain poetic transfiguration of the object world itself—not so much a fantastic narrative, then, as a metamorphosis in perception and in things perceived . In García Márquez, finally, these two tendencies seemed to achieve a new kind of synthesis—a transfigured object world in which fantastic events are also narrated. But at this point, the focus of the conception of magic realism would appear to have shifted to what must be called an anthropological perspective: magic realism now comes to be understood as a kind of narrative raw material derived essentially from peasant society, drawing in sophisticated ways on the world of village or even tribal myth. Recent debates, meanwhile, have complicated all this with yet a different kind of issue: namely, the problem of the political or mystificatory value, respectively, of such texts, many of which we owe to overtly left-wing revolutionary writers .3 In spite of these terminological complexities—which might be grounds for abandoning the concept altogether—it retains a strange seductiveness which I will try to explore further, adding to the confusion with reference points drawn from the work of Jacques Lacan and from Freud’s notion of the “uncanny,” and compounding it by an argument that magic realism is to be grasped as a possible alternative to the narrative logic of contemporary postmodernism.4 1. See Angel Flores, “Magical Realism in Spanish American Fiction,” Hispania 38 : 187-92.2. See Alejo Carpentier, “Prólogo” to his novel El Reino de este mundo ; the most useful survey of the debate remains Roberto Gonzalez Echeverria, “Carpentier y el realism magico,” in Otros Mundos, otros fuegos, ed. Donald Yates, Congreso International de Literature Iberoamericana 16 , pp. 221-31.3. See Angel Rama, La Novel en America Latina , and especially Carlos Blanco Aguinaga, De Mitólogos y novelistas , in particular the discussions of Gabriel García Márques and Alejo Carpentier.4. My own general frame of reference for “postmodernism” is outlined in my “Postmodernism; or, The Cultural Logic of Late Capitalism,” New Left Review 146 : 53-92. Frederic Jameson, William A. Lane Professor of Comparative Literature at Duke University, is the author of The Prison-House of Language and The Political Unconscious: Narrative as a Socially Symbolic Act. He is also a member of the editorial collective of Social Text. His previous contributions to Critical Inquiry are “The Symbolic Inference; or, Kenneth Burke and Ideological Analysis” and “Ideology and Symbolic Action”. (shrink)

This paper examines the profile of the Albatros Publishing House in Bucharest (specialising in youth literature) and the activity of its director, writer Mircea Sântimbreanu. He held this position for almost two decades and recounted his experience in a volume of memoirs. I tried to explore these memoirs mainly in parallel with accounts from archival documents and secondary literature. The Albatros Publishing House was a micro-universe for assessing the impact of successive ideological offensives by the Romanian Communist Party (...) on book production and on the youth in general (mainly the July 1971 Theses and the other party directives of the 1970s, as well as the Mangalia Theses of 1983). By the 1980s, the regime’s propaganda had acquired ultra-nationalistic nuances. This paper will also exemplify such developments by discussing the scandal generated by the 1983 publication of Saturnalii by Corneliu Vadim Tudor, a volume of poems with strong antisemitic tenor. Using mainly diaries, journals, secondary literature and archival documents, this article also analyses the strategies deployed by the communist regime in order to coerce the young generation – through the agency of publishing houses – to assume the new literary-political ideology of revolutionary humanism (the Socialist Realism of the Ceaușescu era). (shrink)

The decision to start the uprising rested chiefly with a few persons from the high command of the Home Army. Political authorities, including Kazimierz Pużak, PPS and the National Unity Council leader, had no influence on the Uprising outbreak and date decisions.Immediately after the uprising outbreak, the socialist movement joined the action, both in the civilian and military area, as did all socialist movement factions. A very important role was played by the well-developed and influential press, coming out (...) in all districts of liberated Warsaw. Socialist activists repeatedly appealed to the allied authorities for active aid for fighting Warsaw.In the city military socialist groups took active part in military operations in all Warsaw’s districts, and in particular in Śródmieście, Wola, Stare Miasto, Powiśle and Żoliborz. Similarly socialist activists took active part in organizing relief for civilian population. The socialist movement was the largest and the most influential political movement in the fighting Warsaw. In the face of insufficient aid from the allied states and the Soviet Army, Warsaw had to capitulate which was reported by socialist Robotnik in words full of sorrow and pathos on 4 October 1944. (shrink)