Feudalism in the service of the revolution Reclaiming heritage in hue

This article discusses the way the past is being reexamined in modern-day Vietnam, particularly through the medium of heritage. Hue, the old royal capital of Vietnam, provides the case study, as this city reflects the great themes and events of Vietnamese history over the last two hundred years, from the establishment of a unified nation under the Nguyen, through the imposition of colonial control, the devastation of war, reunification, and the establishment of communism, to the consolidation of an independent postcolonial nation. The importance of Hue's heritage is recognized in its status as a “world heritage” site. The author argues that Hue's heritage is, nevertheless, problematic for Vietnam's ruling communists, because to them it largely represents a regime—the Nguyen Dynasty—that was “reactionary” and that had sold out the country to the French. The apparent contradiction between the standard communist view of the Nguyen past and the value accorded to Nguyen heritage in Hue is resolved, the author contends, by recourse to the depoliticized practices of heritage preservation and tourist promotion.

Art as parodic practice

Perhaps because of the pervasive sampling, remixing, rehashing and promiscuous citational blending in postmodernity, where quote marks dissolve, parody has come to be seen as a somewhat archaic concept, pertaining to cultures more stably codified and hierarchically ordered, rather than subject to the fluctuations of global markets and phantasmagoric projections affecting the flow of investment moneys. Given the anxiogenic nature of postmodernity under its various guises, willed as hypermodernityand metamodernity or supermodernity, the ideologeme ‘parody’ might be seen as nostalgic symptom in the wake of the ‘grand narratives’ (Lyotard 1984 [1979]) – a rehearsed post-apocalyptic nostalgia for a world of neo-feudalism and fiefdoms, where the seasonal lifting of prohibition for carnival brought on the ‘allowed fool’ (Shakespeare 2006) for parody’s brief upending of the hierarchical order, when high became low, mouth met anus, and wise became mad, even within the Pater Noster of the Holy Mass. (Bakhtin 1980: 78). How the revisitation of parody might illuminate contemporary cultural politics is a driving question behind this collection, a questionmade more urgent by recent global developments of terror.