antisémitisme,Art,Politics

«Two Brotherless Peoples»: On the Constitutive Traumas of Class Struggle

by Akis Gavriilidis

Published in Psychoanalysis, Culture & Society (2008) 13, 143–162.

 

Abstract:

 

In this article, I use as a starting point a “social symptom” showing that Greek left patriots have mixed feelings towards Jews, whom they perceive as a threat but also as a model for imitation, on account of their universally accepted victim status. I consider that these feelings are linked to a specific subjectivity formation, which I term “radical nationalism” and I attribute to the specificities of 20th century Greek history: to the civil war during the 1940s, and the subsequent handling –or non handling– of the painful memories from this split in the national subject. Accordingly, in the first part I go through the genealogy of this subjectivity formation and its affective economy; but also, departing from this specific historical example, I try to draw some more general conclusions about social antagonism and the nature of the traumas in which it results–or really, in which it consists. Then, in the last part, I go back to a corpus of social discursive material –declarations, articles in newspapers, public rallies– and try to show how these illustrate my construction and in what sense they can be construed as efforts to suture the chasm of social antagonism.

 

Key words: nationalism; social groups; trauma; self-victimisation; enjoyment Συνέχεια

Κλασσικό
Art,national identity,Politics,Postcolonialism

Emperor Ras Tafari in Piraeus: Seferis’s Colonial Anxieties

by Akis Gavriilidis

Abstract

Seferis’s poem “Leoforos Syngrou II” has received little critical attention.

Works outside the canon often prove a useful lens for an author’s practice.

This is also the case with this poem, which directly refers to a colonial and racial problematic. Seferis, both as an object of mainstream scholarship and as an icon of Greek pop culture during the last half of the 20th century, has been mainly seen as a champion of “Greekness” –construed as the solitary course of a unique nation through various vicissitudes. The author himself encouraged such a reading. In his work, however, we find evidence that Seferis was attentive to elements undermining this uniqueness, shifting attention to links, cleavages and hierarchizations within both Hellenism and humanity at large. This makes Greekness appear as a product of, and as an instrument for the production of, knowledge about and classification of individuals and ethnic groups, including self-knowledge and self-classification, as well as a technology for profiling and variously claiming and/ or attributing rights to those groups. Our understanding of Seferis’s Hellenism would be incomplete without its colonial and racial dimension.

Συνέχεια

Κλασσικό
Anarchism,Art,Performativity,Politics

The Hegelian pitfalls of the Documenta14 criticisms

by Akis Gavriilidis

 

Recently, while in Cyprus, I spoke to a doctoral student who had just returned from Athens, where, as he informed us, he had visited several events taking place there in the framework of the Documenta14 exhibition. Among these, as he said, a performance “in a building close to Omonia square”. After one or two questions, it came out that this performance was actually not part of Documenta, but a sort of a “counter-event” staged as a satire, under the title dokoùmena (ancient Greek for “things believed/ seen as”, a title which obviously parodies the name of the institution)[1]. Our friend apparently mistook it as being part of the official program.

But was this really a mistake? If so, in what sense?

Documenta consists in a series of artistic works shown during a certain period of time Συνέχεια

Κλασσικό