John Punch, Scotist Holy War, and the Irish Catholic Revolutionary Tradition in the Seventeenth Century

During the 1640s, the Irish Franciscan theologian John Punch taught his theology students in Rome that war against Protestants was made just by their religion alone. Jesuits like Luis de Molina identified the holy war tradition in which Punch stood as a Scotist one, and insisted that the Scotists had confused the natural and supernatural spheres. Among Irishmen, Punch was unusual. The main Irish Catholic revolutionary tradition employed Jesuit and Thomist theory. They argued that the Stuarts had lost the right to rule Ireland for natural reasons, not supernatural ones; because the Stuarts were tyrants, not because they were Protestants.

John Maxwell

Biography of General Sir John Maxwell

Max Weber and the First World War: Protestant and Catholic living standards in Germany, 1914-1919

We assess informal institutions of Protestants and Catholics by investigating their economic resilience in a natural experiment. The First World War constitutes an exogenous shock to living standards since the duration and intensity of the war exceeded all expectations. We assess the ability of Protestant and Catholic communities to cope with increasing food prices and wartime black markets. Literature based on Weber (1904, 1905) suggests that Protestants must be more resilient than their Catholic peers. Using individual height data on some 2,800 Germans to assess levels of malnutrition during the war, we find that living standards for both Protestants and Catholics declined; however, the decrease of Catholics’ height was disproportionately large. Our empirical analysis finds a large statistically significant difference between Protestants and Catholics for the 1915–19 birth cohort, and we argue that this height gap cannot be attributed to socioeconomic background and fertility alone.

Of no fixed form: The Irish Pavilion at Venice 2014 and beyond

This paper explores the theme of exhibiting architectural research through a particular example, the development of the Irish pavilion for the 14th architectural biennale, Venice 2014. Responding to Rem Koolhaas’s call to investigate the international absorption of modernity, the Irish pavilion became a research project that engaged with the development of the architectures of infrastructure in Ireland in the twentieth and twenty-first centuries. Central to this proposition was that infrastructure is simultaneously a technological and cultural construct, one that for Ireland occupied a critical position in the building of a new, independent post-colonial nation state, after 1921.

Presupposing infrastructure as consisting of both visible and invisible networks, the idea of a matrix become a central conceptual and visual tool in the curatorial and design process for the exhibition and pavilion. To begin with this was a two-dimensional grid used to identify and order what became described as a series of ten ‘infrastructural episodes’. These were determined chronologically across the decades between 1914 and 2014 and their spatial manifestations articulated in terms of scale: micro, meso and macro. At this point ten academics were approached as researchers. Their purpose was twofold, to establish the broader narratives around which the infrastructures developed and to scrutinise relevant archives for compelling visual material. Defining the meso scale as that of the building, the media unearthed was further filtered and edited according to a range of categories – filmic/image, territory, building detail, and model – which sought to communicate the relationship between the pieces of architecture and the larger systems to which they connect. New drawings realised by the design team further iterated these relationships, filling in gaps in the narrative by providing composite, strategic or detailed drawings.

Conceived as an open-ended and extendable matrix, the pavilion was influenced by a series of academic writings, curatorial practices, artworks and other installations including: Frederick Kiesler’s City of Space (1925), Eduardo Persico and Marcello Nizzoli’s Medaglio d’Oro room (1934), Sol Le Witt’s Incomplete Open Cubes (1974) and Rosalind Krauss’s seminal text ‘Grids’ (1979). A modular frame whose structural bays would each hold and present an ‘episode’, the pavilion became both a visual analogue of the unseen networks embodying infrastructural systems and a reflection on the predominance of framed structures within the buildings exhibited. Sharing the aspiration of adaptability of many of these schemes, its white-painted timber components are connected by easily-dismantled steel fixings. These and its modularity allow the structure to be both taken down and re-erected subsequently in different iterations. The pavilion itself is, therefore, imagined as essentially provisional and – as with infrastructure – as having no fixed form. Presenting archives and other material over time, the transparent nature of the space allowed these to overlap visually conveying the nested nature of infrastructural production. Pursuing a means to evoke the qualities of infrastructural space while conveying a historical narrative, the exhibition’s termination in the present is designed to provoke in the visitor, a perceptual extension of the matrix to engage with the future.

John Thompson: Seeing through China

In 1848, Karl Marx predicted that a flow of cheap commodities would be the heavy artillery which would batter down all Chinese walls and open up the country to the west (Marx, 1978, p. 477). The Scottish photographer John Thomson (1837-1921) was both chronicler of and participant in the early moments of this process. Thomson was a commercial photographer who first arrived in the Far East in 1862. He earned the moniker of 'China' in a decade-long stay during which he photographed what he considered to be the key aspects of its culture and landscape. In this body of work, Illustrations of China and its People (first published in 1874) is perhaps the most comprehensive. It explores, through two hundred photographs and accompanying texts, a series of phenomena from the macro-scale of landscape, infrastructure and industry to the smaller scales of streetscapes, domestic spaces, individual portraits, and other details of everyday life. Despite his own description of the volumes as encyclopedic, Illustrations is geographically quite limited. Thomson's explorations into the hinterland proceed up the country’s principal rivers from those coastal ports which had already been wrested into western hands during the Opium Wars (of the 1840s) and subsequently opened up to trade. This is perhaps one of the reasons why Illustrations has been described as an explicitly colonial text, a guide-book for the prospective settler whose content offered the strategic knowledge of land, culture and natural resources necessary if the territorial advantages of the coastal periphery were to extended to the interior (Jeffrey, 1981, p. 64). It can also be argued, however, that Thomson’s volume offered justification for a potential colonial presence. Faced with a civilization whose history was as sophisticated as the west, it depicts a culture that is static and moribund, its addiction to traditional values an impediment to progress. While this is perhaps most explicit in the texts of Illustrations of China, it can also be seen in the images whose uniform chemical rendering also serves to make an essentially diverse culture seem homogenous. Yet it is these images that distinguish Illustrations from previous attempts to collate China’s culture and landscape. Here, the mechanical precision of his camera captures a reality that often subverts the colonial narrative, confounding stereotypes as Thomson’s mass-produced images allow another China to emerge.

Do Children still need to Escape Childhood? A Reassessment of John Holt and his Vision for Children's Rights

The work of children’s liberationists have been long been critiqued for pushing the parameters of rights discourse too far; specifically, by suggesting that there are no significant differences between children and adults, including their ability for self-determination. John Holt’s 1974 text Escape from Childhood is one such work which was deemed highly controversial for its time. This article uses Holt’s Escape from Childhood as an overarching framework against which to examine the current state of play on children’s rights as explicated through the UN Convention on the Rights of the Child. It suggests that whilst Holt has often been critiqued for being too radical, in the context of current children’s rights discourse Holt’s visioning is not as radical as it might first appear.

Hanna, John Connor (1871-1947)

Profile and biography entry of John Connor Hanna, early film censor

Introduction: Mapping Gwen John: Lives, Lines and Images

Nomadic Narratives, Visual Forces explores issues, questions, and problems emerging in the analysis of epistolary and visual narratives. This book focuses in particular on Gwen John's letters and paintings. It offers an innovative theoretical approach to narrative analysis by drawing on Foucault's theory of power, Deleuze and Guattari's analytics of desire, and Cavarero's concept of the narratable self. Furthermore, it examines the use of letters as documents of life in narrative research and highlights the dynamics of spatiality in the constitution of the female self in art. This study brings together theoretical insights that emerge from the analysis of life documents - some of them previously unpublished - combining innovative research with specific methodological suggestions on doing narrative analysis.

Quel destin pour l'imaginaire épique et le héros guerrier dans l'écriture? Le témoignage de guerre au Québec de 1914 à nos jours

Cette thèse de doctorat, intitulée «Le récit personnel de guerre dans le Canada français/Québec du XXe siècle», est consacrée à l'étude du traitement de l'imaginaire épique et du héros guerrier dans plus d'une trentaine de témoignages de guerre d'expression française de 1914 à nos jours. Elle établit que le discours sur les combats qui s'y formule «retrouve spontanément le ton de l'épopée, langue maternelle du récit militaire héroïque, celle de l'Iliade » (Maurice RIEUNEAU, Guerre et révolution dans le roman français 1919-1939, Klincksieck, «Bibliothèque du XXe siècle», 1974, p. 157). Cette résilience épique et héroïque remarquable vaut pour toutes les époques. Fait à noter: même dans les récits contestataires, la contestation s'énonce en termes épiques, de héros qui poursuit son combat dans l'espace textuel. Voilà qui nuance quelque peu les résultats d'autres analyses, en particulier en Europe, où les spécialistes retiennent du XXe siècle: «Le récit de guerre [...] a périmé les plaisirs de l'épopée [...].» (Jean KAEMPFER, Poétique du récit de guerre, Paris, José Corti, 1998, p. 39). Avec la (post)modernité, l'épopée se réoriente. Dépassant le complexe du perdant qui marque plusieurs générations de francophones et les rend réceptifs aux valeurs de force et de virilité, le discours sort du repli sur soi, de l'isolement, de la solitude agressive pour pactiser avec l'ennemi juré (l'Allemand, le Japonais, mais aussi le Britannique, le Canadien anglais). Bref, l'identité, ébranlée par la différence, s'équilibre dans une démarche d'assainissement de la mémoire. L'affirmation progressive de soi se double d'une ouverture sur l'étranger, celui d'ailleurs et, à plus forte raison, d'ici.

Compte rendu: Johann Wolfgang Unger (2013), The Discursive Construction of the Scots Language : Education, Politics and Everyday Life, Amsterdam, John Benjamins, coll. « Discourse Approaches to Politics, Society and Culture, 51 », 178 p. [ISBN : 978-9-027-20642-8]

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