The presidential persona paradox of Barack Obama : man of peace or war president?

On a wave of hope and rousing talk of building global bridges, President Barack Obama won office in 2008, in part on a pledge to end the wars in Afghanistan and Iraq and to close the Guantanamo Bay detention facility. In contrast to his predecessor, who launched America into long, costly and ineffectual wars, Obama was seen to be more of a dove than a hawk. However, at the end of his two-term tenure America has been in a state of foreign belligerence for all eight years, making Obama the longest serving U.S. war president in history.The political persona of Obama as a dove originated with his opposition to the 2003 intervention in Iraq while he was still a senator. This was then cemented early in his presidency with his 2009 speech in Cairo, which seemed to signal a profound and optimistic realignment of America’s intentions towards the Middle East and its peoples. This speech was a watershed in defining his political persona and was instrumental in his being the only U.S. president to be awarded a Nobel Peace Prize while still in office. However, during his term the underlying political landscape of the Middle East changed significantly, with the withdrawal from then return to Iraq, the nuclear agreement with Iran, the increasingly chaotic legacy of the Arab Spring, the continued impasse of the Israel-Palestinian peace, the disintegration of Yemen and Libya and the rise of the Islamic State as the new threat in the political vacuum of northern Iraq and eastern Syria, and a resurgent Russian role in the region. All of these have provided novel challenges to Washington and a president attempting to live up to the positivity of his early days in office.At the end of his presidency Obama is faced with a public burned by the disappointments of the Iraq and Afghanistan campaigns and the new entanglements in the Middle East. This paper seeks to offer insights into the juxtaposition of Obama’s political persona and reality, as well as exploring what his political legacy might really be.

Devotional reading and dissolving the self: a critical reading of the late medieval Scottish Legendary using Kristevan theory

The Scottish Legendary is a fourteenth century collection of saints’ lives in Older Scots. The prologue describes the lives as ‘merroure’ (mirror) to readers from which ‘men ma ensample ta’ (people may take example). Thus, the Legendary sets out to reveal how the reader is (mirror) thereby moving her to wish to become how she should be (exemplarity). This dissertation argues that, rather than encouraging devotion to saints along purely dogmatic lines, the Legendary transforms the reader’s selfhood by engaging her affectively, i.e. on an emotional and somatic level. By provoking the reader affectively, the text puts the reader into what Julia Kristeva has described as a ‘semiotic state’ which harks back to the reader’s or listener’s pre-cultural, pre-subjective self (Kristeva, 1984). Thus, the text disrupts the reader’s conception of herself as a complete, hermetic subjectivity, thereby dissolving the boundaries of the reader’s self. The Legendary most powerfully infiltrates the reader’s sense of self along these lines in the moments in which female saints’ bodies are tortured and dismembered. These scenes foreground the permeability of human flesh as well as its powerful influence over selfhood. Such images of abjection are, in Kristeva’s words, ‘opposed to I’; by confronting the reader with the disintegration of subjectivity in abjection, the text incites the reader to likewise experience herself as abject, i.e. disintegrable and permeable (Kristeva 1982). As I shall demonstrate, Kristeva’s psychoanalytic theory of the formation of the self offers a fruitful framework for understanding the processes of self-knowledge through reading that these saints’ lives inspire.

Biodeterioration of easel paintings: development of new mitigation strategies

Easel paintings have undergone biodeterioration processes due to microbiological agents proliferation, particularly by development of fungal strains that are associated to biofilms formation and microstructure disintegration of these artworks, due to a wide diversity of available nutrients. Thus, mitigation strategies, using green and non-toxic biocides, which eliminate and prevent the microbiological contamination of these cultural assets are in progress.