November 08, 2007

எட்வர்ட் சயிததின் வரலாற்றுத் திரிப்புகள்-

வசதிக்கு வரலாற்றை வளைத்தால் என்ன ஆகும்? தமிழ்நாட்டில் திராவிட வரலாற்றாசிரியர்கள் எழுதுகிற முழுத் திரிப்பு வரலாறு போல அல்லது கடந்த நவீனத்துவ/ இடதுசாரிகள் இந்தியாவிலும், தமிழகத்திலும் எழுதுகிற பல வரலாற்று நூல்களைப் போலக் கோணலான வரலாறாக இருக்கும். எதையும் நசிவு என்று சொல்வோம் என்று முன்கூட்டியே முடிவு செய்து அணுகினால் எல்லாம் நசிவு என்றுதான் தெரியும். தன் மேதாவித்தனத்தில் எந்த சந்தேகமுமில்லாத லெனினியம் ரஷ்யாவை அழித்தது போல தம் பாரம்பரியத்தை இவர்கள் கடன் வாங்கிய கருத்தியல்களை வைத்து அழிக்க பெரும் பாடு படுகிறார்கள். முடிவு இவர்கள் விரும்பியது போல இராமல் நன்மையாக இருக்கவே இந்த வகை எதிர் விமர்சனங்கள் உதவும் என்று நம்புகிறேன்.
பொய்மை எல்லாக் காலத்திலும் ஆள முடியாது.
இன்னொரு ஆசிரியர் எட்வர்ட் சயித்தின் வரலாற்றுத் திருப்புகளைப் பட்டியலிடுகிறார். இவர் சொல்வதனைத்தையும் நாம் ஏற்க வேண்டும் என்று நான் வாதிடவில்லை. எந்த நாகரிகத்தையும் பற்றி வெளியாட்கள் அணுகிப் படித்து ஆராய முடிய வேண்டும், அவற்றை விலக்க அல்லது எதிர்க்க தன்னிச்சையாக நாம் முயலக் கூடாது, படித்துப் பார்த்து சாரத்தை நன்மை கருதி எடுக்க வேண்டும் என்றுதான் வாதிடுகிறதாக எனக்குத் தெரிகிறது.
ஆராய்ச்சி செய்ய எவருக்கும் உரிமை இருக்கிறது. யார் ஆராயப் படுகிறாரோ அவருடைய நன்மையைக் கருதிச் செய்யப் படும் ஆய்வுக்கும், அவரை அழிக்கக் கருதிச் செய்யப்படும் ஆய்வுக்கும் பலத்த வேறுபாடு உண்டு. கண்டதை அப்படியே எழுதும் நடு வகை எழுத்து மிகக் கடினமான செயல்- அதையும் யாராவது செய்தால் எதிர்க்காமல் அறிவது நல்லது. இவ்வளவுதான் இவருடைய மையக் கருத்து. சயிது போன்ற சிந்தனையாளர்கள் எல்லாம் அரசியல் என்ற வாதத்தால் இயக்கப்பட்டு தாமுமே அரசியலாக மாறிப் போனார்கள்.

பட்சங்கள் இயல்புதான். ஆனால் மனிதரால் பட்சங்களைத் தாண்டி நியாயத்தைத் தரிசிக்க முடியும் என்ற நம்பிக்கை நம்மிடம் இல்லையென்றால் மனித நாகரிகம் என்ற முயற்சியே சாத்தியமாக இராது. பலபண்பாட்டியம் பேசும் இடதுகள் இதையே ஒத்துக் கொள்வதும் இல்லை, நம்புவதும் இல்லை, பிறகு என்ன பலபண்பாட்டியம் தேடுவது என்பது எனக்குப் புரிந்தது இல்லை.
சூ.கா



http://72.14.205.104/search?q=cache:12ZCei_qVC0J:www.axess.se/english/2007/06/theme_irwin.php+site:www.axess.se+%22Orientalism/Saidism%22&hl=en&ct=clnk&cd=1&gl=us



THEME Axess-blomman ORIENTALISM/SAIDISM

Said Falsifies the Past

Edward Said’s influential work Orientalism is characterised by a falsification of history and academic snobbery. By his groundless criticism of serious art and research into the past Said disregarded racism against Arabs and Muslims in popular culture.

I find Said’s Orientalism most unsatisfactory. But first, what does his book argue? Here it is convenient to quote from the introduction to my book:
‘In a nutshell, it is this: Orientalism, the hegemonic discourse of imperialism, is a discourse that constrains everything that can be thought and written about in the West about the Orient and more particularly about Islam and the Arabs. It has legitimized Western penetration of the Arab lands and their appropriation and it underwrites the Zionist project. Though Said is not consistent about the origins of Orientalism, on the whole he argued that it originated in the work of French and British scholars in the late eighteenth century. However, the discursive formation was not restricted to scholars, as imperialist administrators, explorers and novelists participated in, or were victims of this discourse. The West possesses a monopoly over how the Orient may be represented. Representations of the Orient invariably carry implications about Western superiority, or even, quite often, flat statements about that superiority. Note that it is only possible to talk of representations of the Orient, as the Orient has no objective reality, being merely a construct of Orientalism. Characteristically Orientalism is essentialist, racialist, patronizing and ideologically motivated.’ As Said, himself put it, ‘every European in what he could say about the Orient was consequently a racist, an imperialist and almost totally ethnocentric’.

Why did Said write his book? He started out as a non-political academic, concentrating his researches on deconstructive approaches to English literature. But by the 1970s he felt that he could not ignore the sufferings of Palestinians. At the same time there were the most grotesque misrepresentations of the Arabs in the press, as well as all sorts of instances of US aggression in the Middle East.

Orientalism falsified the past in large and small matters. Said got the history of the Arab conquests badly wrong. He displayed an almost perfect ignorance of the chronology of British imperialism. He had an anachronistically secular and expansive vision of the nature of universities in pre-twentieth-century Europe. In my book I confined myself to Said’s mishandlings of academic Orientalists, but I shall be astonished if academic specialists in English literature will be prepared to stand up for his bizarrely tendentious readings of such novels as Sir Walter Scott’s Talisman or George Eliot’s Daniel Deronda.

OF COURSE SOME Orientalists have agendas. Let us consider the intellectual ancestry of Bernard Lewis. Back in the 1960s, when he was a professor at London University’s School of Oriental and African Studies, he was already famous as a historian of the Turks, the Arabs and Islam. He has become even more famous or notorious since. His books have sold widely and, since he writes accessibly, such works as The Arabs in History, Islam in History and The Crisis of Islam have influenced millions of students and general readers. He is also a well known Zionist, a defender of Israel’s actions and ambitions. He has been a leading advocate of intervening militarily in Iraq. He has been much in favour with the Neo-Cons in Washington and consulted by the White House. In an article in Atlantic Monthly he coined the phrase ‘Clash of Civilizations’, a phrase that was then recycled as the title of a book by Samuel Huntingdon which, echoing a fear expressed in Lewis’s article, predicted a coming struggle between Islam and Western society.

Lewis in turn had been the student of two famous Orientalists (the term did not have pejorative overtones then) Hamilton Gibb and Louis Massignon. Gibb, who taught at SOAS, got a particularly bad write-up in Said’s book, I am not sure why. Gibb was a great scholar who was keen on importing new methodologies into Oriental studies. He was also anti-imperialist, anti-Zionist, passionately optimistic about the futures of both Arab nationalism and Arab scholarship and the man who was one of the first Orientalists to espouse the study of contemporary Arabic literature. He believed that Western Orientalism would soon become irrelevant as the Arabs would take over in analysing and interpreting their own culture.

As for Lewis’s other teacher, Louis Massignon, Said in Orientalism came very close to canonising this French Orientalist as a sainted genius. Massignon, who wrote mostly on Sufi mysticism and Arabic philology, had started out as an enthusiast for the French imperial project and he had worked for Marshal Lyautey in Morocco. Subsequently however, he became a fervent anti-colonialist and like most prominent French Orientalists of the time, including Jacques Berque, Vincent Monteil, Charles-André Julien, Régis Blachère, Claude Cahen and Maxime Rodinson, he campaigned for Algerian independence and protested at French torture of Arabs. He also founded Les Amis de Gandhi to campaign against British rule in India. Besides being anti-imperialist, he was also emphatically anti-Zionist and indeed sporadically anti-Semitic. And he was a terrific French chauvinist.

After a meeting with Ignaz Goldziher in 1905 Massignon regarded himself as Goldziher’s intellectual and spiritual heir and was so regarded by Goldziher. Goldziher (1850-1921) was by common consent of those in field the most important, the most innovative and the most influential Orientalist of the twentieth century. Goldziher’s name occurs just three times in Orientalism, but his work, ideas and influence were not discussed by Said. Why? Surely it is because Goldziher, a Hungarian Jew who wrote in German and who had studied at al-Azhar, was passionately pro-Arab and who repeatedly stressed the dynamism of the Islamic religion, just did not fit Said’s thesis about the collusion of, or the imbrication of imperialism and Orientalism. (Nor more generally did the leading role of German Orientalists fit that thesis either.) In 1920 Goldziher wrote to a Christian Arab friend in Mosul ‘I have lived for your nation and for my own. If you return to your homeland tell this to your brothers’. A year later Goldziher was dead.

GOLDZIHER WAS A meticulous scholar, but his teacher, the flamboyant Hungarian, Arminius Vámbéry was not that kind of scholar and indeed he was something of a charlatan. But Vámbéry was a vigorous campaigner against imperialism and for rights of the Muslim world to be free from Western domination. ‘Constitutional government is by no means a new thing in Islam, for anything more democratic than the doctrine of the Arabian Prophet it would be difficult to find in any other religion’, he wrote.

And so on. Or one could have followed an alternative silsila or chain of transmission from Gibb back to Dennison Ross, the first director of the School of Oriental Studies, and from Ross very swiftly back to the key German Orientalists. One can push the continuous chain of transmission of specialised knowledge and skills back to the immensely influential Heinrich Leberecht Fleisher and from him back to Silvestre de Sacy (1758-1838). If one goes further back in time, one finds a fair number of Orientalists, but not continuous chains of them. The first real Orientalist was, I think, Guillaume Postel in the sixteenth century, but he was a lone figure in his time. The seventeenth century was a golden age for Orientalism, but thereafter there was a steep decline of that sort of learning in the eighteenth century.

It is a mistake by the way to think that Said was the first to point out that Orientalists have had agendas and therefore that he opened a debate. Jacques Waardenburg, Raymond Schwab, Anwar Abdalmalik, A.L. Tibawi and various others, including Bernard Lewis, were there before him. And it is natural for scholars to scrutinise their own methodologies and, for example, historians of modern Britain do it all the time, without the prodding of any polemic like Orientalism.

MOREOVER, FIGURES LIKE Vámbéry and Massignon were exceptional in having overt, even flamboyant agendas. The flat dull truth is that most Orientalists have been quiet, scholarly figures, often extremely pious folk who interested themselves in such matters as the position of the Eastern Christian Churches regarding the Eucharist and the date of Easter, or the relationship of Arabic to Biblical Hebrew, or the best way to translate Sufi mystical poetry. It takes a considerable feat of the fantastic imagination to see these dull dogs who cloistered themselves in libraries as the agents of imperialism, racism and Zionism.

As for the prejudiced Orientalists – the ones who published manifestos, wrote to the newspapers, remonstrated with politicians and so on, the prejudices they had far more likely to be in favour of Arabs and Islam, than against. That is and for centuries has been their professional deformation. Indeed, Elie Kedourie denounced most Arabists as being fatally compromised by their love of all things Arab. By and large, with certain glaring exceptions, the Orientalists have been the good guys.

And Said’s Orientalism has misdirected our attention. Who doubts that there is such a thing as Orientalism in the pejorative sense – a presentation of the Orient or more specifically Arab Muslims as corrupt, lazy, decadent and so forth? One would have to be insane to deny such thing. There was and is plenty of racism with respect to Arabs and Muslims in Western culture, but the best places to go looking for it are in government departments, army barracks, police stations, Hollywood film studios, and the editorial rooms of trash newspapers. Orientalism in a pejorative sense comes bubbling up from below – pulp novels, musical hall songs, cartoons, the violent rhetoric of street gangs, fights on the football pitch, and films about fanatical yet corrupt terrorists. It is a very foolish piece of academic snobbery to go hunting for faint hints of Orientalism in the pages of George Eliot or Joseph Conrad, while yet, neglecting the novels of Sax Rohmer and Dennis Wheatley. By misdirecting hostile attention to intellectuals, artists and, above all, academics, Said was indicting those who were mostly the good guys and he turned what should be a serious socio-cultural issue into a campus dog fight.

Moreover, whether Orientalism manifested itself in some recondite but prejudiced work of scholarship such as was indeed produced, for example, by Henri Lammens, or whether it manifested itself in the racial stereotyping in a trashy novel by Sapper about Bulldog Drummond, it seems to me that the importance of that cultural Orientalism for political and imperial history was still not that great. The imperialists – the Cromers, Curzons and T. E. Lawrences did not need Orientalists and they did not read them. Those soldiers in the Sudan, rubber plantation managers in Malaya and magistrates of the Raj who were without intellectual pretensions read Frank Buck’s Bring ’Em Back Alive, books on pig-sticking and tiger hunting and later maybe they could just about manage the short stories of Somerset Maugham. The ones with pretensions to culture read Homer, Caesar, Cicero and Gibbon – and that is what Cromer, Curzon and Lawrence did. Those classics had a crucial role in framing their ideas about empire. The Seven Pillars of Wisdom was written as a kind of Homeric epic.

TURNING TO SAID’S cultural formation, he was born into a Christian family and raised in a largely secular environment. He did not read al-Bukhari, al-Ghazali, or Ibn al-Arabi. I think that this meant that he had a problem with Islam. It is true that he wrote a book entitled Covering Islam in which he denounced Western media misrepresentations, but they were mostly media misrepresentations of Arabs rather than of Islam. His hostility to Islam meant that he was blind to the growing importance of political Islam. He was reluctant to acknowledge the pivotal role of Islam in Middle Eastern history. This was a major reason for his hostility towards the Orientalists. He believed that they had grossly overemphasised the importance of Islam as a political, social and cultural force. But today, when one considers Khomeinism, Hizbollah, Hamas, the Muslim Brotherhood or the numerous Muslim activist ginger groups or missions, it does not seem to me that those Orientalists like Gibb and Goldziher, who had emphasised Islam’s continuing dynamism and social role, were obviously wrong.

Said was no historian and his chronology does not work. His chief target was Britain and British imperialism and Orientalism, but he got the chronology of the British empire wrong. He failed to realise that for most of the nineteenth century Britain’s chief concern in the Middle East was to prop the Ottoman Empire up. Only in the 1880s did Britain begin to acquire quasi-imperial powers and responsibilities in one country, Egypt. Said (on page 169) writes of ‘an imperial domain which by the 1880s had become an unbroken patch of British held territory from the Mediterranean to India’. This is not factually correct. He has forgotten about the Ottoman Empire, Iran and Afghanistan, none of which were held by the British. Only at the end of the First World War did Britain acquire something that could be called an empire in the Middle East. As for the running together of Orientalism and imperialism, British Orientalism had two heydays. The first in the seventeenth century when Edward Pococke (1604-91) was one of the towering eminences of Arabic scholarship. That was a time when Britain had no overseas empire to speak of, but when the British feared the power of the Ottomans who still threatened Vienna and Christendom more generally and British also feared the depredations of the Barbary corsairs. Tens of thousands of Britons were taken captive and made slaves in North Africa in the seventeenth and eighteenth centuries. The second heyday of British Orientalism ran from circa 1945 until the 1970s – a time when Britain’s moment in the Middle East was coming to an end and the British were withdrawing from India, Palestine, Egypt, Aden and the Trucial states.

Said provided no prescriptions for how the Middle East and Islam should be studied. Rather he seems to have wished to have wished Middle Eastern studies to become a no-go area. In Orientalism there is a slippage postulated, to the effect that to study the Orient is to represent it and to represent it is to dominate it. As Christopher Hitchens has written in a recent issue of Atlantic Monthly, ‘Most of all … one must be ready to oppose any analysis that even slightly licenses the idea that outsiders are not welcome to study other cultures. So far from defending those cultures from depredation, such a stance actually permits them to fall under the dominance of stultified and conservative forces to whom everything depends upon an affirmation of blind faith. This and not the enquiry into its origins might be described as the problem in the first place’.

TO CONCLUDE. ONE One wishes the argument of Said’s Orientalism to be right. That is natural, when one considers the wrongs perpetrated by Britain in the Middle East, from the bombardment of Alexandria in 1882, to the carve- up of the Arab lands after the First World War, to the destabilisation of Mossadeq in 1953 to the Suez invasion of 1956. There is also of course the fairly steady support given by Britain to Israel. Then again critically alert outsiders must be suspicious of the Orientalists with their quasi-monopoly over difficult languages and claims to special expertise. The idea of an important link between imperialism and old-fashioned scholarship seems attractive. Furthermore the study of the Middle East studies from a Saidian point of view becomes so much more interesting, as one is then engaged in deconstruction and contestation. Scrutiny of the Orientalists then offers similar pleasures to the detective work involved in unmasking a conspiracy. Academics are mostly politically impotent, but here would be useful work to do, work that can be done in a library, which will help to reveal the ideological underpinnings of imperialism, racism and Zionism.

Nevertheless, however much one wishes Orientalism’s thesis might be true, the facts and theories advanced in its support are fatally flawed. Indeed many of the errors seem downright wilful, being generated by a rhetoric without reference to reality. As Joseph Butler, an eighteenth-century bishop, wrote ‘Things and actions are what they are, and the consequences of them will be what they will be: why then should we desire to be deceived?’

End
ROBERT IRWIN
Robert Irwin is a historian and author of, for example, For Lust of Knowing: The Orientalists and their Enemies (2006)

எட்வர்ட் சையித் மற்றவர்களைச் சொன்ன குறைகளெல்லாம் அவருக்கும் பொருந்தும்ம்

THEME
Axess-blomman
ORIENTALISM
/SAIDISM

Tendentious Theory Blocks our View

When Said’s disciples analyse Oriental pictorial art, they fall back on completely arbitrary interpretations. Far too little emphasis is placed on what the world the paintings depict actually looked like.

In the guest book at the Dahesh Museum on Madison Avenue, in Upper Manhattan, there is an entry by a tourist, possibly German, who enthuses about the Orientalist paintings in the collection, saying how much she admired and enjoyed them. Then, almost as an afterthought, as though she has only just remembered to put on her ideological spectacles, she adds words to the effect that, "of course, they were Orientalist works, hence imperialist and reprehensible." Apparently, she felt guilty for having enjoyed and appreciated Orientalist art. How many other ordinary lovers of paintings, sculpture, drawings, watercolors and engravings have had their natural inclination to enjoy works of Orientalist art damaged, or even destroyed by the influence of Edward Said and his followers? How many people have had their enjoyment of Jane Austen spoiled by Said's insidious claim that Austen was condoning slavery?

Nowadays when discussing Orientalist art, one often begins with Linda Nochlin's article The Imaginary Orient, a work obviously influenced by Said's Orientalism. Nochlin's article can hardly be called art criticism. It is purely polemic, and, at times, quite hysterical. For her, the important element in any analysis of such art must be "the particular power structure in which these works came into being. For instance, the degree of realism (or lack of it) in individual Orientalist images can hardly be discussed without some attempt to clarify whose [italics in original] reality we are talking about." We are immediately in the fantasy world of relativism and parallel universes—"whose reality," indeed. Nochlin assumes that the Orientalist artist must in every case be a symbol of the prevailing political reality, in other words, in the the grip of blind historical forces against which he is helpless, that he must have an imperialistic agenda, and must be a racist. The thought that the artist may indeed be an individual, with his own personal, aesthetic reasons for being in a foreign land, that he possesses freewill, that the artist may actually love the country and its people that he paints, never seems to have occurred to her. For her, he represents the Occident, out to rape the submissive and backward Orient.

IT IS UNFORTUNATE for her ideological argument that she begins with Gérôme's Snake Charmer, which she claims is "a visual document of nineteenth-century colonialist ideology." It was placed in Constantinople, capital of the Ottoman Empire and seat of the Caliphate, and, of course, was not a European colony. The fact that so many Orientalist artists were working in parts of the Ottoman Empire, in Turkey itself, or Syria and Palestine and the Holy Land, is a simple refutation of this non-stop nonsense about "colonialist ideology." Egypt was conquered by the Ottomans in 1517 and remained a Turkish colony until 1798, when the French expedition under Bonaparte arrived with the intention of reinstating the authority of the Ottomans. The French interlude lasted barely three years. In 1801 a joint British-Ottoman expedition ended the French adventure. Between 1801 and 1882, Egypt was not occupied by a European power, and it was certainly not a European colony, and indeed, in a strict sense, it was never a European colony. It was an Ottoman colony for nearly three hundred years. David Roberts, who painted many magnificent scenes of Egypt and her monuments, died in 1864, and so could not have known that country under European occupation. Algeria was under French rule for 132 years, but as we shall see, those artists who went there developed an affection for and commitment to it, artists such as Eugene Fromentin. Morocco and Tunisia were under French rule for a brief period, roughly forty years each, only in the twentieth century.

Nochlin continues, "the watchers huddled against the ferociously detailed tiled wall in the background of Gérôme's painting are resolutely alienated from us, as is the act they watch with such childish, trancelike concentration. Our gaze is meant to include both the spectacle and its spectators as objects of picturesque delectation." "Ferociously detailed tiled wall?" What exactly is her complaint? The wall is very skillfully rendered, and Gérôme, like many other Orientalist painters, delighted in depicting sensuous, colorful detail of materials, cloths, carpets, costumes, and ceramics and marble. "Childish, trancelike concentration:" apart from the condescension implicit in "childish," Nochlin's finds their gaze "trancelike;" I would describe it rather as "interested," especially the black figure on the left who leans forward in eager anticipation, with a slight smile on his face.

"Clearly, these black and brown folk are mystified—but then again, so are we. Indeed, the defining mood of the painting is mystery, and it is created by a specific pictorial device. We are permitted only a beguiling rear view of the boy holding the snake. A full frontal view, which would reveal unambiguously both his sex and the fullness of his dangerous performance, is denied us. And the insistent, sexually charged mystery at the center of this painting signifies a more general one: the mystery of the East itself, a standard topos of the Orientalist ideology."

NOTICE HOW MS Nochlin's own mystification suddenly, by a sleight of hand, becomes the Orientalists' topos of "the mystery of the East." What is the mystery? We cannot see the boy's genitals. In which case, how does she know he is a he? She finds his buttocks "beguiling," and apparently is disappointed that she cannot see more. She hates being left in an "ambiguous" state. And why are the spectators—condescendingly described by Nochlin as "black and brown folk"!—mystified, since they do have a full frontal view of his sex and hence of his performance? Sexually charged mystery indeed! In what way would a full frontal view reveal to us a "dangerous performance" that is not obvious from the dorsal view? Perhaps the performance is dangerous simply because it involves a snake, but we do not need a front view to figure that out; any angle will do. It is Nochlin herself who leaps from one canvas to generalize about all the Orient. It is Nochlin herself who is guilty of the very reductionistic, essentialist Orientalist generalization of which she accuses this artist. How can one go from one scene depicting a snake charmer to the claim that this represents the entire East? Perhaps it does for Ms Nochlin. It certainly does not for me or thousands of others.

Nochlin claims that the watchers in the painting are "huddled" against a wall, but huddled implies discomfort. They do not look at all uncomfortable. It is Nochlin who is uncomfortable looking at them. She claims that they are "alienated" from "us," but the "us" is really an elliptical expression for herself, for Linda Nochlin. Some of the watchers are looking at the boy with the snake, but some appear to be watching an unrendered event behind the flutist. This further undermines Nochlin's analysis.

"Gérôme suggests that this Oriental world is a world without change." Gérôme, claims Nochlin, avoids the French presence. But there was no French colonial presence in Turkey where this painting is placed. "The absence of a sense of history, of temporal change, in Gérôme's painting is intimately related to another striking absence in the work: that of the telltale presence of Western man. There are never any Europeans in "picturesque" views of the Orient like these." But here Gérôme is not painting a historical subject or scene. All that Nochlin's extraordinary criticism amounts to is a demand that he paint another picture altogether, whose subject matter is to be dictated by her.

"Indeed," continues Nochlin, "it might be said that one of the defining features of Orientalist painting is its dependence for its very existence on a presence that is always an absence: the Western colonial or touristic presence."

ONE CAN IMAGINE what Nochlin's criticism of an Orientalist work that did show a European in one of their paintings would be: "Of course, Gérôme would have to put in a European to remind us that it is really the European who is the master; there is no space that belongs to the Oriental, it has all been usurped by the colonialist. The Oriental cannot be left alone even in his own home....." Nochlin complains about "a plethora of authenticating details," especially the "unnecessary ones." Orientalists are accused of painting an imaginary Orient, and then also accused of "insisting on authenticating details. One cannot have it both ways. Should they have left out the authenticating details? Would that have improved the paintings? And would not these details help dispel the mystery that seems to vex Ms. Nochlin? Surely it is the artist's prerogative to decide which details are necessary and which not.

"Neglected, ill-repaired architecture functions, in nineteenth-century Orientalist art, as a standard topos for commenting on the corruption of contemporary Islamic society." Has Nochlin ever been to the Orient? It is her Orient that seems to be imaginary. Even now, one of the most distressing sights, at least for me as someone originally from India, is the physical decay of so many beautiful historical palaces and monuments in contemporary India. It was even worse in the nineteenth century, until a British Viceroy, Lord Curzon, did something about it. The situation was, and is, similar in North Africa, Syria, Egypt, and other Islamic lands. The Orientalists painted what they saw. It is true that ruins do attract the Romantic mind, and have been popular at least since the ruins of ancient Rome were painted by Hubert Robert [1733-1808]. But delight in ruins is an aesthetic attitude, not a political statement.

New York Times journalist Alan Cowell wrote in 1989 that Cairo "oozes decay." As for Istanbul or Constantinople, Orhan Pamuk's entire book on the city is about decay, ruin, neglect and poverty. He grieves for "a city that has been in decline for a hundred and fifty years;" he finds melancholic joy "in the crumbling fountains that haven't worked for centuries; the poor quarters with their forgotten mosques,...the dilapidated little neighbourhood shops packed with despondent unemployed men; the crumbling city walls like so many upended cobblestone streets....". It is ironic and amusing that Edward Said was himself accused of "Orientalism" in the pejorative sense when he complained of the decay in modern-day Cairo.

And, it is well-attested that tiles in Turkish mosques often fell off simply because of the poor quality of the glue used. To capture that dilapidation in paint is not part of the "project of imperialism". Is not Nochlin's claim that Orientalists always paint a timeless Orient, "a world without change," contradicted by her other claim that Orientalists were always painting decay? Decay is a sign of mutability, that things are no longer what they were. Nochlin wants to have it both ways.

NOCHLIN COMPLAINS THAT there are too many lazy natives in Orientalist paintings, not enough people doing their jobs, not enough activity. But she cannot have looked carefully. There is a rich-toned work by Rudolf Ernst in the Dahesh Museum of two men in their workshop, beating into shape copper objects; Charles Wilda's A Coppersmith, Cairo [1884]; E. Aubry Hunt's The Farrier, Tangiers; Edwin Lord Weeks and Eugène Girardet painted tailors at work; and there are any number of paintings of the bazaar bustling with activity, such as Germain-Fabius Brest's View of Constantinople of 1870, now in the museum in Nantes; Albert Pasini's Bazar at Constantinople; Amadeo Preziosi's Market Scene in Cairo; Fausto Zonaro's Barbers Working in a Square in Constantinople. Then there are busy port scenes in numerous paintings such as Carlo Bossoli's Oriental Port. Dervishes are often portrayed, and they are hardly inactive. There are also paintings of hunting with falcons, guns, on horseback, and so on, as in the works of Eugene Fromentin. And what of the exhilarating sense of movement in Giulio Rosati's Successful Raiding Expedition?

The absence of certain activities in a painter's oeuvre cannot possibly be taken to mean that he, the artist, thought the natives were "a lazy bunch of layabouts." In such a shallow interpretation, from the Dutch and Flemish genre paintings of the seventeenth century one would get the impression that the Dutch spent their entire time in taverns, brothels, and merry-making. There are few paintings of people engaged in any work or craft; exceptions include Metsu's Interior of a Smithy, and Brekelenham's Interior of a Tailor's Shop. Yet we know that seventeenth-century Netherlands was a hive of commercial activity, and extraordinarily successful economically. As the art-historian Wayne Franits notes, there are also few paintings of commercial activities in Dutch ports, but we know how busy the ports were.

Nochlin contemptuously dismisses Delacroix who, she claims, was said to have read Herodotus for descriptions of Oriental debauchery. There are no such descriptions in Herodotus. He gives a sober, not a prurient account, of the well-known institute of temple prostitution, and a sympathetic account of the manners and customs of Orientals.

Nochlin lets fly one baseless charge after another. One wonders if she has bothered to really look at, let alone enjoy, a work of Orientalist art. Here are her final thoughts on Orientalist art: "Works like Gérôme's, and that of other Orientalists of his ilk, are valuable and well worth investigating not because they share the esthetic values of great art on a slightly lower level, but because as visual imagery they anticipate and predict the qualities of incipient mass culture. As such, their strategies of concealment lend themselves admirably to the critical methodologies, the deconstructive techniques now employed by the best film historians, or by sociologists of advertising imagery or analysis of visual propaganda, rather than those of mainstream art history." Evidently, for Ms. Nochlin and her ilk, Orientalist art, as John MacKenzie pointed out, "exists on an entirely different plane from that considered by 'mainstream art history.'" In his brilliant demolition, so far from the fashionable nonsense of 'deconstruction' offered by Said and his ilk, MacKenzie takes them to task for their imprecision, especially the cavalier way they talk about "imperialism". MacKenzie insists, "It will not do to pick and mix artists from different points in the nineteenth century and portray them as locked into a set of racial and imperialist assumptions. The durability of the oriental obsession, from the late eighteenth to the early twentieth centuries must raise doubts that its 'deconstruction' can be anything other than highly complex, producing different results at varying periods, as well as opposing dualities among artists and even within the single artist's work."

ORIENTALIST ART MUST be seen as a continuation of those aesthetic impulses that began at the dawn of Western painting. Many Orientalist painters and sculptors were motivated by the same artistic desires as those of the Renaissance. Gentile Bellini, Carpaccio and other Venetians, but also Rembrandt and the Flemish Pierre Coeck d'Alost, have been mentioned. Nochlin seems irritated by Gérôme's Arabic calligraphy, but in fact, a little "mainstream art history" would reveal that from the late thirteenth century onward, Western artists were fascinated by Oriental scripts and used it in many of their works. Many artists, not knowing Oriental languages or scripts, invented pseudo-scripts for decorative purposes and used them on textiles, gilt halos, and frames for religious images: artists such as Duccio, Giotto, Fra Angelico, Andrea Mantegna, Gentile da Fabriano, and so on. The one exception was Pisanello, who copied almost exactly the Arabic script that says, "al-Muayyad Abu Nasr Shaykh," in his Studies of Costume Worn by the Emperor John VIII Paleologus and Esatern Delegates at the Council of Eastern and Western Churches in Ferrara, 1438, a drawing now in the Louvre. Rosamond Mack points out that "Italians admired the aesthetic qualities of Islamic calligraphy" and used it in patterned textiles. Early Italian painters were confused about Arabic writing, but Mack writes, "the misapprehension was driven by Western veneration of Christianity's Eastern roots and the desire to possess and preserve that sacred heritage."

Artistic concerns were paramount: "Artistic concerns also played an important role in the various adaptations of Arabic writing and the Islamic objects on which such writing appeared. Giotto and his contemporaries developed an immediately recognizable version of the Eastern honorific garment to make their representations more vivid and, and in their view, more accurate. The imitation writing on halos and frames was ornamentally sophisticated, consistent with the Eastern garments, and perhaps also emphasized that these were images of a universal faith." Aesthetic concerns, along with the ubiquitous Western desire for universalism, were the main impelling forces.

Gérôme and other Orientalists were more successful in rendering Arabic script; they also admired the aesthetic qualities of Arabic calligraphy. Referring to the Arabic inscriptions in Gérôme's Snake Charmer, Nochlin quotes Ettinghausen, a great scholar and expert on Islamic Art, as saying that they could "be easily read." Then Nochlin adds a contradictory footnote: "Edward Said has pointed out to me in conversation that most of the so-called writing on the back wall of the Snake Charmer is in fact unreadable." Pace Said, the large frieze at the top of the painting, running from right to left, is perfectly legible. It is the famous verse 256 from Surah II, al-Baqara, The Cow, written in thuluth script.

UNFORTUNATELY, THE INSCRIPTION thereafter is truncated, so that the upper part is lost, but even then one can make out parts of it, probably not a Koranic verse but rather a dedication to a caliph; the name Uthman is just visible, and possibly the word Sultan. The Turkish artists and architects often added a dedication in mosques, and even on coats-of-arms, such inscriptions as, “The ruler of the Ottoman Empire, Sultan Abdülhamit who puts his trust in God." Or was Gérôme simply copying faithfully a real wall with those very verses? I have learned from Professor Gerald Ackerman that Gérôme executed the painting in his Paris studio, copying a photo from the Topkapi Palace published by Abdullah Frères, the Istanbul photography firm. This discovery makes Nochlin's remarks even further off the mark.

Many copper vessels, plates, and weapons decorated with silver and gold and produced in Egypt, Turkey, or Morocco, both contemporary and those manufactured a hundred years ago, show what purport to be Arabic scripts or inscriptions, but in fact are gibberish, since the artisan producing such objects is often illiterate, certainly ignorant of Classical Arabic, and the complex rules of Arabic calligraphy.

Let me summarize: Does the frieze represent actual writing? The answer is yes. Is the writing in any sense legible? Here again, the answer is yes. It is not easily legible, but nor are all the stylized inscriptions in, for instance, the Dome of the Rock. It is simply a feature of Islamic calligraphic art, and in this case Gérôme was not inventing the writing. But even if Gérôme had invented the inscriptions, what conclusion would follow? Only that Gérôme did not know Arabic. But neither does Nochlin. If Gérôme's ignorance of Arabic is an obstacle to painting about the Orient, why isn't Nochlin's ignorance of Arabic (or Turkish) an obstacle to writing about Orientalism in art?

There were at least four hundred Orientalist artists of stature, British, American, French, Italian, and German, producing thousands of works of quality and artistic merit. It does not do to generalize about artists from so many varied backgrounds, each with his cultural, and above all, aesthetic perspectives, in the calumniating fashion that Nochlin does. It is Nochlin who sees the entire Orient defamed in one painting. It is her generalizations and tendentious readings that are offensive. It is she who is degrading the Orient by such claims, not the artists she misreads and exploits for tendentious ends. These artists often portrayed the essential dignity of that non-European Other, the Oriental.

End
IBN WARRAQ
Ibn Warraq is a writer and debater. The article is a revised chapter from his study Defending the West. A Critique of Edward Said’s Orientalism, to be published in September 2007 by Prometheus Books.

ஜெர்மனி மறுபடியும்- பெர்லின் சுவர் மட்டுமா வேண்டும், ஹிட்லரின் ராஜ்யமும்தான்

பெர்லின் சுவரும் சோசலிசமும் வேண்டும் என்று ஜெர்மனியில் கிழக்கு ஜெர்மனியின் முன்னாள் பிரஜைகள் விரும்புவதைப் பற்றிப் பதிந்தேன். வேலை செய்யாமல் சம்பளம் என்பது யாருக்குத் தான் பிடிக்காது? வங்காளடததில் கணக்கர்களை, அரசாங்க ஊழியர்களை, சிபிஎம் தொழிற்சங்க ஆர்வலர்களைக் கேட்டால் பெரும் காவியமே எழுதுவார்கள்- எப்படி அதைச் சாதிப்பது என்று.
இங்கே பார்த்தால் அதை விட அதிசயமாக ஜெர்மனியர் இன்னொன்று சொல்கிறார்கள்- ஆனால் அனேகமாக இவர்களெல்லாம் கிழவர்கள்.
அதான், ஹிடலர் வந்தால் நல்லாயிருக்கும் என்று புலம்பல். நானே பார்த்திருக்கிறேன் தமிழ் நாட்டில். சில கிழவர்களெல்லாம், பிரிட்டிஷ் காரன் தாய்யா சரியா ஆட்சி பண்ணான். அவனே திரும்ப வந்தால் தேவலாம் என்று சொன்னவர்களை எல்லாம் கொஞ்சம் நிறையவே பார்த்திருக்கிறேன். இதில் பிரிட்டிஷ்காரன் காலத்தில் சிறு பையன்களாக இருந்த சில மகாஜனங்களும் அடக்கம்.
சூ.கா
http://www.guardian.co.uk/print/0,,331014136-103532,00.html
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One in four see positive side of Nazis, poll finds
· Older Germans more accepting of regime · TV newsreader sacked over comments on familyKate Connolly in BerlinFriday October 19, 2007
GuardianA quarter of Germans believe aspects of the Nazi era were positive, according to a poll published after a dispute about the Nazis and their attitude towards the family.
Asked whether National Socialism was wholly negative or had some good points, 25% of respondents to the Forsa institute poll said yes, while 70% said no.
The poll was published in Stern magazine to accompany an essay on "Why every fourth German still believes National Socialism had its good sides". It comes after a debate sparked last month by a television presenter who said the Nazis' attitude towards the family had been positive. Eva Herman, 48, was sacked from her role as a newsreader by public broadcaster NDR after her comments prompted an outcry.
Germans were still deeply insecure about how to view their past, according to the magazine. The older the respondents, the higher their acceptance was of the Nazi regime. Of the over 60s, 37% answered positively.
"It would appear that a lot of people think like Eva Herman, but most of them don't say it into a microphone," the magazine wrote.
The poll has drawn sharp criticism from the Central Council of Jews. Its vice president, Dieter Graumann, called it a warning sign and said it was "ugly, disastrous and it makes me sad and angry".
"It shows just what a tall task schools (and) youth workers ... have in front of them," he told German news website Netzeitung.
Volker Beck of the Greens said it was a slap in the face to those who thought Germans were confronted excessively with the Nazi past.
"This poll shows those who repeatedly criticise schools for teaching too much about the Third Reich are wrong," he said. "It is particularly alarming that younger people are increasingly positive about National Socialism."
Herman was quoted as saying that although there was "much that was very bad, for example Adolf Hitler," the Nazi era produced good things, "such as the high regard for the mother". What makes her remarks particularly taboo in German society is that the Nazis awarded mothers who produced large families medals of honour for their contribution to increasing the aryan race.
The magazine said Germans suppressed the extent to which Nazi-era laws and legacies shaped their lives, and its condemnation of Herman was hypocritical. "Hitler still reigns," it wrote, highlighting existing laws governing everything from chimney sweeps to maternity leave, which originated in the Nazi era.
"Hitler left the world much more than Auschwitz and the autobahns, but it's something people gladly forget or suppress," it wrote.
Guardian Unlimited © Guardian News and Media Limited 2007

மீண்டும் ஜெர்மனி- பெர்லின் சுவர் மறுபடி வேண்டுமா?

சற்று முன்னால் டிமதி கார்ட்டன் ஆஷ் என்பாரின் பெர்லின் வால் வீழ்ச்சியும் மக்கள் எழுச்சியும் என்பன பற்றிய புகழ்ச்சிக் கட்டுரையைப் பதித்தேன். அவரோ வெளி நாட்டவர். உள்ளூர் மக்கள் , அதான் ஜெர்மனியர், என்ன சொல்கிறார்கள், பார்ப்போமா? படித்து மகிழப் போவது நம்மூர் இடதுகள். :)
சூ.கா

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Germans hanker after barrier
Kate Connolly in Berlin /Thursday November 8, 2007
Guardian
More than one in five Germans would like to see the Berlin Wall rebuilt, a study published to coincide with the 18th anniversary of its fall shows.
The survey of more than a thousand Germans of different ages showed that the desire to see the wall return is as high among former citizens of communist East Germany (the GDR) as it is among those from the west.
Only 3% of people who originated from East Germany said they were very satisfied with the way that German democracy worked.
The poll by the Forsa institute showed that 73% of those from the east believed that socialism was a good idea in principle, but had been poorly implemented. Over 90% argued that they enjoyed better social protection during the GDR era.
The first slabs of the Berlin Wall were erected in 1961 as the GDR moved to separate West Berlin from the communist East. In its 28-year life the wall became a symbol of the cold war and, according to official figures, 125 people were killed trying to cross it from east to west.
Its fall began on November 9 1989, part of the collapse of communism across eastern Europe. The two Germanys were officially reunited the following October, to great national celebration, but the bill for unification has been put at €1.3 trillion and the merging of the two countries has not come without severe social problems.
The overwhelming majority of people originating from West Germany who took part in the survey said that if the wall was rebuilt they would prefer to live in West Germany, while around 36% of former East Germans said they would prefer to live in the communist east.
Cultural historian Tanja Bürgel told Der Spiegel magazine that most young people born in eastern Germany had no connection to their origins. "There are no cultural roots with which they can positively identify," she said.
The poll results have been published as Germany reflects on the experiences of young Germans born on the eve of the fall of the Berlin Wall, who will come of age tomorrow. Many of the young people and their parents say they feel politically disenfranchised and disillusioned. It is also telling that less than 5% of relationships in Germany are between east and west Germans, suggesting the a social and cultural divide still exists.
Guardian Unlimited © Guardian News and Media Limited 2007

பெரும் சமுக மாறுதல்கள்- எப்படி சாதிப்பது? வன்முறையாலா அல்லது மக்கள் திரளியக்கங்களாலா

கார்டியன் ஒரு இடது சாரிப் பத்திரிகை. நம் ஊர் மவுண்ட் ரோடு மாவொ நடத்தும் பத்திரிகையில் இதில் இருந்து அடிக்கடி கட்டுரைகள் அடிக்கடி பிரதி செய்யப்படும். இதில் சமயத்தில் சேம் சைட் கோல் போடுபவரும் உண்டு. :)
இதோ டிமதி கார்ட்டன் ஆஷ் என்பவர் தன் கட்சிக்காரருக்கு ஒரு எலெக்ட்ரிக் ஷாக் கொடுக்கிறார். ஆனால் சைபீரியாவே அசைக்க முடியாத மத/ மூட நம்பிக்கைக்கு இவர் கொடுக்கிற சின்ன ஷாக் என்ன செய்யப் போகிறது?
கேட்கிற கேள்வி எளியது. லெனின் நிறைய உளறி இருக்கிறார். அதில் ஒன்று வன்முறை இல்லாது புரட்சி வெல்லாது என்பது. இங்கே கிழக்கு ஜெர்மனியின் கம்யூனிஸ்டுகளுக்கு எதிராக வென்றது மக்களின் அமைதியான எதிர்ப்பும், எழுச்சியும்தான் என்கிறார். நான் அவரோடு கட்சி கட்டப் போவதில்லை. தமிழகத்தில் நிறைய பேர் இருப்பாரே?அவர்கள் பார்த்துக் கொள்ளட்டும்!
சூ.கா.
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The path of the fallen wall is hard to find, but a powerful example lives on

Memories of the day have faded and capitalism has triumphed, but the event endures as a model of non-violent resistance
Timothy Garton Ash in BerlinThursday November 8, 2007The Guardian
Remember, remember the 9th of November. But who does? If you had not seen the headline to this column, would you instantly have known that I refer to the day the Berlin wall came down, 18 years ago tomorrow? Dates age faster than we do, said the poet Robert Lowell, and most of the time that is true.
For an older generation of central Europeans, November 9 meant the Kristallnacht, the "night of broken glass" in 1938, when Nazi thugs left the streets of this city strewn with the smashed glass of Jewish shopkeepers' windows. For those still older, it recalled Hitler's attempted putsch on November 8-9 1923. Each November 9 supplants the last. Perhaps - heaven forbid - in a few years' time there will be an attempted terrorist attack in Berlin (foiled, let us hope) on a November 9 and Germans will have to work out whether to call it 9/11, European style, or 11/9, American style.

Earlier this week, I spent an afternoon with a long-time East German friend showing my younger son, who was three years old in 1989, the places where the wall used to be. There's not much left: a few stretches of old concrete and raked sand (once the "death strip" where would-be escapers from the former East Germany were shot), grainy museum photos, a stark and rusty memorial. The ruins of Persepolis are more vivid. For those of us who were there, the experience - both the taste of our friends' long imprisonment and the magical moment of liberation - is unforgettable, life-transforming; but to explain it to someone who was not there requires a novelist's effort of evocation. "To feel how it was" ("Fuehlen, wie es war"), a local newspaper captions a picture of children stretching out their fingers to touch an internally illuminated, multicoloured plastic replica of the wall, erected by a Korean artist in front of the Brandenburg Gate. Or rather, how it wasn't.
This remoteness is not merely a function of age or physical distance. Over dinner, I asked my old friend's eldest son, who as a 21-year-old escaped through the perforated iron curtain from Hungary to Austria in the summer of 1989, and is now a priest in west Berlin, what his parishioners would make of it if this Sunday he preached a sermon based on his experience. Not much, he said. The west Berlin congregation would probably think: there he goes again, bothering us with his eastern reminiscences. Like the bored family when dad starts retelling for the umpteenth time his veteran's tales of Vietnam or the second world war.
But imagine the case of a young woman born on the morning of November 9 1989, here in East Berlin, and therefore 18 this Friday? How would she celebrate and reflect on her coming of age? "Just like someone in Spain or Britain," say my friends. Spain is probably a better comparison. Of course, there is a general sense that there was a dark and gloomy past somewhere back there, before one was born - like the shadow of the Franco dictatorship for a young woman in Madrid. But it's only marginally relevant to your own life.
So why has this epochal event, considered by many historians to mark the end of the "short 20th century" (1914-1991), faded so rapidly from lived experience? Perhaps because, unlike, say, the 4th of July, it did not start a big new thing that is still with us (for instance, the United States). It was more a great ending than a great beginning.
On the morning after, there were huge questions in the air. Could (and should) Germany be peacefully united? Could (and should) communism, which had abolished virtually all private property, emasculated the rule of law and supplanted democracy with the "dictatorship of the proletariat", be transformed back into capitalism? As the joke went at the time: we know that you can turn an aquarium into fish soup, but can you turn fish soup back into an aquarium? Eighteen years on, these questions have been answered. Yes, you can. Driving into the centre of East Berlin, I noticed an alternative, hippy-style shop which had on its door a parody of the famous cold war Berlin signs that used to say, "You are now leaving the American sector" (of West Berlin, that is, crossing into the Soviet sector, or East Berlin). This parodic notice read: "You are now leaving the capitalist sector." But it isn't true. Even among the incense and beads behind that alternative shop door, capitalism rules, OK.
The ultimate proof of the triumph of capitalism is to be seen in a striking full-colour advertisement that has appeared in the pages of the Economist and the Financial Times in recent weeks. It shows a thoughtful-looking Mikhail Gorbachev, sitting in the back of a car through whose rear window you can clearly see one of the few remaining stretches of the Berlin wall. Beside him is a leather bag by Louis Vuitton, for which luxury goods manufacturer this world historical figure and hero of our time is now serving as an advertisement. Eighteen years on, that seems to me a perfect icon of the age we're in.
What, then, is left of that incredible November night, when the people made their own history as they danced through the wall? "Was bleibt?" ("What remains?"), as the East German novelist Christa Wolf mournfully asked. Apart from our fading memories, there is, I believe, at least one thing that survives with a future. The fall of the wall is perhaps the world's most famous image of the triumph of what we call in English "civil resistance" - that is, popular non-violent action. It followed massive peaceful demonstrations in Leipzig and other then East German cities. As one East German worker told me at the time: "You see, it shows Lenin was wrong. Lenin said a revolution could succeed only with violence, but this was a peaceful revolution."
The East German "revolution of the candles", as some dubbed it at the time, had predecessors, from the non-violent campaigns of Gandhi and Martin Luther King to Poland's Solidarity. It has also had many successors, from the velvet revolution in Prague, which followed within a matter of days, to South Africa, Slovakia, Serbia, Ukraine and, most recently, the protests led by Buddhist monks in Burma (too hastily tagged the "saffron revolution") and those of lawyers in Pakistan today. (Expect a "lawyers' revolution" tag, assuming some journalist hasn't reached for it already.)
I am involved in a fascinating research project, led by my Oxford colleague Adam Roberts, which is looking at many of these cases of the use of civil resistance and trying to work out why some succeeded and others failed. Courage, imagination and skilled organisation of peaceful protest is not enough, if other factors of power - the army and police, a colonial power, neighbouring states, international media, economic forces - are not sufficiently present, benign or amenable. You need your Gorbachev, your Helmut Köhl, your western TV cameras and, not least, your party leaders who give up without a shot fired in anger. But you also need the citizens on the streets, with their candles, banners, chants and the sheer peaceful force of numbers. Without them, there is no revolution. With them, you can change the course of world history, even in the face of a nuclear-armed superpower. So the date may fade, but the example lives on.www.timothygartonash.com

சீனாவின் தொழிலாளரின் பரிதாப நிலை

மதர் ஜோன்ஸ் என்பது எனக்குப் பிடித்தமான இடது சாரி, தொழிலாளர் சார்புப் பத்திரிகை. இதில் லெனினிசம், உலகப் புரட்சி, மாவொயிசம் என்றெல்லாம் நடுத்தர வர்க்கத்தின் ஆகாசத் தாமரை தின்கும் கனவுப் புரளியெல்லாம் இல்லை. உலக முதலியத்தின் கோர வடிவங்களை அப்படியே எடுத்துச் சொல்லி எதிர் நடவடிக்கைகளை எப்படி சாதிப்பது என்று அலட்டாமல் விவாதிக்கும் பல கட்டுரைகளை இங்கு பார்க்கலாம்.

மாவோயிசம் என்று பம்மாத்து காட்டிக் கொண்டு சீனக் கம்யூனிஸ்டுகளின் பெருந்தலைகள் ராணுவ உதவியுடன் சீனப் பாட்டாளிகளைச் சுரண்டும் விவரங்களை அடிக்கடி இந்தப் பத்திரிகையில் எழுதுகிறார்கள். இதோ ஒரு ப்ளாக்- இப்பத்திரிகையின் வலைப் பக்கத்தில் வந்தது.
சீனாவுக்கும் மாவோவுக்கும் வால் பிடிக்க சொந்த நாட்டுக்குத் துரோகம் செய்யவும் துணிந்து செயல்படும் இந்திய இடதுக்கு இதைப் பார்த்தாவது ஏதாவது உறைக்குமா என்றால், இராது என்றுதான் சொல்ல வேண்டிய அவல நிலை.
இதே போல அமெரிக்க/ யூரோப்பிய தொழிற்சாலைகளில் இல்லையா என்று கேட்டு கருத்து சூனியக் கட்சியைச் சப்பை கட்டி நிறுத்த முயல வேண்டாம். இந்திய இடதுக்குத் துளியாவது நேர்மை இருந்தால் சீனப் பொதுவுடைமை இயக்கம் பெருந்தோல்வி அடைந்து விட்டது என்ற அப்பட்டமான உண்மையை ஏற்றுக் கொள்வது முதல் கட்டம்- ஆனால் மாவொயிச வியாதியில் இருந்து விடுபட வெகு தூரம் அதற்கப்பால் போகவேண்டி இருக்கும்.
சூ.கா
_____________________________________________________
Factory Conditions Sicken Chinese Workers

The fact that lead-laced toys put kids at risk is bad enough, but Chinese factories also cause big problems for another population—workers.
A few of the ways factory employees risk their lives to produce goods bound for the U.S., according to the Salt Lake Tribune's
series on the hazards of manufacturing plants in China:
*Making Char-Broil grills and gas stoves: Experts estimate 4.4 million Chinese workers have silicosis, a fatal lung disease caused by inhaling metal particles.
*Assembling furniture and household accessories: Millions of workers have lost limbs and fingers while using outdated factory equipment.
*Painting furniture: workers who inhale solvents like benzene, toluene and xylene suffer from a range of health problems (one interviewed for the article had myelodisplastic anemia, a precursor to leukemia).
*Making batteries: inhaling cadmium dust, a carcinogen, can cause "severe bone pain, kidney failure and death."
The conditions that cause these health problems (old equipment, loose regulations, lack of protective gear) will most likely take a long time to improve, but the Tribune points out that it might speed things up if American consumers think twice about that new Char-Broil grill.
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Posted by Kiera Butler on 10/22/07 at 9:52 AM

October 12, 2007

மனித குலத்தைப் பீடித்த இரு உள்ள நோய்கள்

உலக இடது சாரியினரின் சிறந்த செயல்பாடுகளில் ஒன்று அவர்கள் அராபியர் மேலும் உலக முஸ்லிம்களோடு கை கோர்த்து நிற்கும் காட்சி. அதனளவில் இதில் ஏதும் தவறில்லைதான்
, ஏனெனில் இரு கருத்தியல்களும் (ideologies) சமத்துவம் என்ற ஒரு முலாமைப் பூசிக் கொண்டு உலக ஏகாதிபத்தியத்தைத் தாம் மட்டுமே அடைய வேண்டும் என்ற பேராசை கொண்டு நிற்பவை. இரண்டும் உலக அமைதியைத் தாம் நாடுவதாகத் தொடர்ந்து பிரச்சாரம் செய்வதில் மிகவுமே திறமை மிக்கவை. இரண்டுமே தம் கட்சி சார்ந்தவர்கள் தவிர மற்றவர்களெல்லாம் சித்தப் பிரமை பிடித்தவர் அல்லது முட்டாள்கள் அல்லது நரகத்துக்குத்தான் போகப் போகிறார்கள் என்று மற்றவரின் அறிவு, திறன், சிந்தனை, தேர்வு ஆகிய எதையும் உண்மையில் சிறிதும் மதிக்காத ஒரு ஆழ்ந்த வெறுப்பு கொண்டவர்கள். இரண்டு பார்வையிலும் அவர்கள் ஆண்டால் மற்றவர்கள் கீழே எந்த அதிகாரமும் இல்லாத சாதாரண மக்களாக, ஆளப்படும் தகுதி மட்டுமே உள்ளவர்களாக, basically slaves without any citizenship rights, இருக்க விடுவோம், எங்களைப் போல சகிப்புத்தன்மை யாருக்கும் உலகிலேயே கிடையாது என்று மார் தட்டுபவை.


இரண்டுக்கும் மாற்றுக் கருத்து கொள்பவர்களை எதிரி என்றுதான் பார்க்கத் தெரியும், ஒரு வேளை அவர்களுக்கும் நம் அளவு திறமை, தரிசனம், தொலை நோக்கு, ஆழ்சிந்தனை, மனிதாபிமானம், பகுத்தறிவு, மேலும் இதர மனித சாதனைத் திறன்கள் இருக்குமோ என்பது குறித்து எந்த சந்தேகமும் கிடையாது, அப்படி இருப்பதே சாத்தியமல்ல என்றுதான் முடிவு. அதற்கு மேல் போய நம்மவரே மனிதர், மற்றவர் மனிதரே அல்ல என்பது இரண்டு குழுக்களின் அறுதியான தீர்மானம்.


இந்த இரு குழுக்களும் பரஸ்பரம் என்ன நினைக்கிறார்கள் என்பதுதான் எனக்குப் புரியாத ஒன்று. இருவருக்கும் மற்ற குழுவின் அறிவு மீது, தேர்வுகள் மீது, கூட வாழ முடியாத சகிப்பற்ற தன்மை மீது சிறிதும் நம்பிக்கை கிடையாது. பின்னெப்படி இவர்கள் கை கோர்த்து நிற்கிறார்கள் என்றால் அது ஒரு வரலாற்று விபத்து என்றுதான் கொள்ள முடியும். சந்தர்ப்பவாதம் சரி, தற்காலிக நட்பும், முதுகில் குத்துவதும் சரி என்பன இவர்களுடைய அடிப்படை நெறிகள் கூட. எனவே எனக்கு இந்தக் கூட்டணி மீது எந்த வியப்பும் எழக் கூடாது. இஸ்லாமிசமும், மார்க்சியமும் உலகின் இரண்டு பெரும் நோய்கள். இரண்டுக்கும் ஒன்றை ஒன்று பிடித்திருப்பதில் வியப்பு ஏன் எழ வேண்டும்? மனித குலத்துக்கே சமாதி கட்டி விட்டுத்தான் இரண்டும் ஓயும். நாம் இவற்றை ஓய வைத்தாலொழிய இவற்றில் இருந்து நமக்கு விடுதலை சுலபத்தில் கிட்டாது.

கீழே உள்ள கட்டுரை இஸ்லாமிஸ்டுகள் அதுவும் வசதி ஓரளவு நன்றாகவே உள்ள மேலை நாடுகளில் வாழும் புலம்பெயர்ந்த மக்களான முஸ்லிம்கள் நடுவே இளைஞர்கள் ஏன் வன்முறையைத் தேர்ந்தெடுக்கிறார்கள், ஏன் மேலுயர்ந்து வருவதை, உதா: யூதர்களைப் போல, இந்தியர்களைப் போல, தேர்ந்தெடுப்பதில்லை என்ற ஒரு எளிய கேள்விக்குப் பதில் தேட முயல்கிறது.
படித்து விட்டு விமர்சனத்தை எழுதுங்கள். என் கருத்தை அடுத்த பதிவில் தெரிவிக்கிறேன்.
சூ.கா


http://chronicle.com/temp/email2.php?id=FS6bmprxZVgx9xvgWxhpm9ZwDNZ885gD

The Chronicle of Higher Education
The Chronicle Review
From the issue dated October 5, 2007

The Targets of Aggression

"Attend the tale of Sweeney Todd. He served a dark and an angry god." Thus begins Stephen Sondheim's masterpiece, Sweeney Todd: the Demon Barber of Fleet Street, a darkly comic tale of multiple murders and unwitting cannibalism. Who is this dark, angry god? And why did Todd serve him?

Set in Dickensian London, Sweeney Todd is the tale of a man whose lovely wife had the misfortune to catch the eye of a lecherous judge. To facilitate his evil designs, the judge has Sweeney transported to Australia, where he spends the next 15 years at hard labor. But the wronged fellow eventually escapes and returns to London, bereft of his wife, his daughter, and his reason for living. Not surprisingly, Todd vows revenge, and is about to get it just as Act I concludes. Facing lethal retribution from the enraged barber, the judge narrowly escapes, whereupon Todd slits someone else's throat instead, and then quite a few others. Sweeney Todd "takes it out" on the innocent citizens of London, butchering his clients (who then are baked into meat pies and sold to unsuspecting folk).

But this "god" is universal, and Todd is hardly alone in behaving this way. For as long as there have been human beings on earth — stretching back to our animal inheritance — we have been bedeviled by a peculiar need, as insistent as it has been tragic: Making others suffer for the pain we feel, often choosing as our victim someone who wasn't even the original perpetrator. Biologists call it "displaced" or "redirected" aggression. It operates through the transfer of pain, sometimes physical, sometimes psychological. And it has been going on for a very long time.

Consider The Iliad, which tells of many wrongs and their tragic consequencesin particular, the anger of Achilles as he reacts to the pain inflicted on him by Agamemnon, who took his woman, Briseis. With Achilles famously sulking in his tent, and the Greeks losing to the Trojans, Agamemnon attempts, unsuccessfully, to get the great warrior to fight. What finally moves Achilles to action is when he suffers additional pain — the loss of his friend/lover Patrocles — after which he vows, "I will not give you burial, Patrocles, until I carry back the gear and head of him who killed you, noble friend." But that's not all. Achilles is not satisfied with mere revenge (a behavior intimately linked to redirected aggression, as we'll see). He demands more, swearing that others — innocents — shall also suffer for his pain: "Before your funeral pyre I'll cut the throats of twelve resplendent children of the Trojans."

This story speaks passionately to us from the injured heart of redirected aggression: nearly always vengeful and brutal, and all too often tragically indifferent in its choice of victim, as well as insensitive to his or her suffering. Like Sweeney Todd, Achilles had been wronged, and, like Sweeney Todd, he "took it out" on innocent victims. Homer was certainly unaware of redirected aggression as scientists understand it today, as was Stephen Sondheim, in all likelihood. Both, however, were well versed in human nature.

Only one of Sweeney Todd's victims turns out to be the evil judge, and that only toward the end of the play, by which time dozens of innocent Londoners are dead. Moreover, Sweeney was not delusional: He was fully aware that his various "customers" had never harmed him, his wife, or his daughter. By the same token, Hector alone killed Patrocles, yet we are told that Achilles became a veritable killing machine, until the river Xanthus, choked with bodies of the Trojan dead, asked the gods to call him off.

Both cases involve a motivation more interesting, more complicated, and more irrational than mere revenge: When an individual suffers pain, he most often responds by passing it on to someone else. When possible, that "someone else" is the perpetrator, the original source of the pain. But if this cannot be achieved, then others are liable to be victimized, regardless of innocence.

Usually the wheels of mayhem are set in motion when someone is wronged, and typically the deeper the wrong, the more bloody the response. It is noteworthy that even here, in works of the imagination (where, one might think, anything goes), only rarely are bad guys presented as doing evil for evil's sake: the mustache-twirling villain who gleefully ties the heroine to the railroad tracks because he is simply cruel, and that's that. Almost inevitably, for a bad character to be believable, he or she must be shown to have suffered some injury. Then it all makes sense.

Redirected aggression — the passing of pain from one victim to another — is not merely the stuff of literature and drama. Art reflects our world, and sadly, the urge to pass along pain lurks behind modern warfare no less than it did behind medieval pageantry, leaving its mark in the genocidal wars of the 20th century as well as those that threaten to overwhelm the 21st. It underlies many of the most prominent, enduring themes of literature, history, anthropology, psychology, and religion. It haunts our criminal courts, our streets, our battlefields, our homes, our hearts. There is nothing new about the phenomenon. Much is new, on the other hand, in our ability to understand it.

Place a rat in a cage with an electrified floor and subject it to repeated shocks. Not surprisingly, the poor animal will show many signs of stress, at first flinging itself against the walls with each shock. But after a while, it just sits there apathetically, showing no inclination to escape from its painful prison. When autopsied, the animal will be found to have oversized adrenal glands and, frequently, stomach ulcers, both indicating serious stress.

Now repeat the experiment, but with a wooden stick in the cage alongside the rat. When shocked, the rat chews on the stick, and as a result, it can endure its experience much longer without burnout. Moreover, at autopsy, its adrenal glands are smaller, stomach ulcers fewer. The rat buffered itself against the stress merely by chewing on the stick, even though doing so does nothing to get it out of its predicament.

Finally, put two rats in the electrified cage. Shock them both. They snarl and fight. Do it again, and keep doing it; they keep fighting. Yet at autopsy, their adrenal glands are normal, and, moreover, even though they have experienced numerous shocks, they have no ulcers. When animals respond to stress and pain by redirecting their aggression outside themselves, whether biting a stick or, better yet, another individual, it appears that they are protecting themselves from stress. By passing their pain along, such animals minister to their own needs. Although a far cry from being ethically "good," it is definitely "natural."

Redirected aggression does not simply derive from irrationality or human nastiness, but — along with retaliation and revenge — is entrenched in the very fabric of the natural world, part of a continuum involving nature's response to pain. The biology of redirected aggression goes a long way toward explaining not only its apparent senselessness but its universality as well. It shows up across the ages, as we've seen, across cultures, and across social units, from individuals to communities to nations.

The journalist Lawrence Weschler, writing in The New Yorker, described the effect of redirected aggression on an entire community, the Bosnian town of Banja Luka. Although it used to consist of a majority of Muslims, when Weschler arrived, nearly all of them had just been murdered or driven out ("cleansed") by their Serb neighbors:

"As I was standing alongside the rubble-strewn parking lot on the site of what had until recently been one of the most splendid ancient mosques west of Istanbul, I asked a passing Serb student by what justification this and all the other mosques in town had been leveled. 'Because of what the Ustasha did to us during the Second World Warthey leveled our Orthodox churches,' he replied without the slightest hesitation. But the Ustasha were Croats. I somehow felt transported into a Three Stooges movie: Moe wallops Larry, who then feels entirely justified in turning around and smashing Curly."

Weschler's description offers a perfect summary of redirected aggression, comic if it weren't often so tragic. And although it might be tempting to relegate such actions to other cultures, more violent or perhaps less sophisticated than our own, 21st-century Americans are not immune to redirected aggression. Consider Iraq.

It is clear that Saddam Hussein was in no way connected with the events of September 11, 2001, but in the mind of the American people, the agony of that attack demanded that something be done — preferably something violent — and, moreover, that someone be held accountable and made to suffer. Afghanistan's Taliban had been trounced, but America's pain demanded more.

Thomas Friedman, writing in The New York Times in June 2003, noted that "the 'real reason' for this war, which was never stated, was that after 9/11 America needed to stick it to someone in the Arab-Muslim world. ... Smashing Saudi Arabia or Syria would have been fine. But we attacked Saddam for one simple reason: because we could, and because he deserved it, and because he was right in the heart of that world." According to the U.N.'s former chief weapons inspector Hans Blix, in his recent book, Disarming Iraq, "It is clear that the U.S. determination to take on Iraq was not triggered by anything Iraq did, but by the wounds inflicted by al-Qaeda."

Not coincidentally, here is a little ditty that made its way around the Internet in the late winter of 2003, just before the invasion of Iraq (to the tune of "If You're Happy and You Know It, Clap Your Hands"):

If you cannot find Osama, bomb Iraq.
If the market's hurt your Momma, bomb Iraq.
If the terrorists are Saudi, and they've repossessed your Audi,
And you're feeling kinda rowdy, bomb Iraq!

The bombing and subsequent invasion of Iraq was an immense blunder, but — at its initiation, at least — a success insofar as it accurately gauged and responded to the eagerness (even, perhaps, the need) of many Americans to redirect their post-9/11 pain. It feels bad to be a victim, but the pain can often be somewhat assuaged by victimizing someone else in turn.

Recently physiologists have uncovered the hormonal basis for such behavior. Animals and people subjected to attack or threat experience "subordination stress," as a result of which their adrenal hormones go up, along with blood pressure and the probability of developing ulcers. But — and this is crucial — when given the opportunity to "take it out" on someone else, victims show no sign of stress. By passing along their pain, they modulate their own internal distress while generating trouble for the next ones down the line. Think, the biologist Robert Sapolsky suggests, of the fellow who doesn't get ulcers but causes them!

As to the evolutionary advantage of such a system, it seems clear that individuals who respond to painful situations by striking out at someone else have been more successful than those who sit back and "take it," because such individuals are less likely to be victimized the next time around. In social species, including our own, individuals are exquisitely sensitive to a variant of Lenin's dictum "who, whom?" The cost of being victimized includes a loss of reputation; that is, being seen as exploitable: Who did what to whom, and what happened as a result? Evolution would most likely reward victims who — even if unable to retaliate against the actual perpetrator — conspicuously "take it out" on someone else.

To understand how and why people engage in redirected aggression is to gain insight into seemingly disconnected events. For example, the power and ubiquity of scapegoating are revealed afresh: from Old Testament accounts in which the transgressions and sins of the people were placed upon the head of a goat, which was then slaughtered or driven away, to current psychological theory whereby families often establish a "designated transgressor" who is blamed for any dysfunction. At the societal level, African-Americans have undoubtedly been the foremost recipients of that dubious honor: In a now-classic study, the psychologists Carl Hovland and Robert Sears found that they could predict the number of Southern lynchings occurring during any given year between 1882 and 1930 simply by knowing the price of cotton. When cotton went down, the frequency of lynchings went up. Not that white Southern racists literally blamed African-Americans every time cotton prices declined; rather, a bad economy led to an outpouring of anger, resentment, and frustration, which was then turned against a conspicuous and powerless minority. The economic and social pain of poor whites was passed on to blacks, without any conscious awareness of the scapegoating involved. The situation was clearly cultural, the process all too "natural."

We might also want to reconsider "justice" and ask what is really going on when victims demand punishment, nearly always claiming, of course, that they are not out for revenge. But, in fact, aren't they insisting — although not in so many words — that their pain be offloaded onto someone else? Once the wheels of pain have begun to spin, what really seems to matter is that someone — anyone — must suffer, must be made to "pay." By the same token, consider the fact that crime victims typically resent the presence of exculpatory evidence, which is likely to lead to an acquittal: If their interest were simply in seeing justice done, shouldn't they applaud any information that makes it less likely that an innocent person might be punished, and thus more likely that the criminal-justice system will instead spend its energy on finding the real culprit? It appears that the accumulated burden of physiology, evolution, and cultural expectation is so great that redirected aggression typically feels better than no response at all. Revealingly, there is a deep insistence on the part of victims and their families that — by virtue of their suffering — they are entitled to a defendant's punishment, almost without regard to the matter of guilt. Moreover, the urge among victims to redirect their aggression is so strong that society steps in to make sure that this powerful impulse is handled decorously.

Modern science may even owe its existence to scapegoating, or, rather, to those who were able to overcome the urge to redirect their anger and pain. The argument, in brief, is that when bad things have happened to innocent people, there has been a powerful tendency for those people to seek someone, or some group, to blame. And so Jews were slaughtered during the Great Plague, and accused witches were especially likely to be burned whenever times were hard. By taking out their pain on such supposed transgressors, a burden was lifted from the suffering survivors. Today, of course, we know that people get sick because of disease organisms, not the "evil eye." The point is that in order for science as we now understand it to have developed, it may well have been necessary for people to stop looking for the causes of disasters — and thus of their pain — in scapegoats and to begin searching in the natural world. In short, we didn't so much stop burning witches because we had developed science, but ra-ther, we developed science only when we were able to get beyond burning witches.

Denying this impulse has been harder than one might think, since it not only invites physiological and evolutionary distress but also opens other vulnerabilities. ("To err is human," quipped S.J. Perelman, "to forgive, supine.") Thus it is one thing to espouse compassion and nonviolence, but we live in the real world, which contains threatening, dangerous, and hurtful individuals, requiring that we ask some hard questions. Such as: What should be done about violent transgressors, notably sociopaths and other perpetrators of evil, those with "poisonous personalities" who act upon their venom? If it is not acceptable to pass along our pain, how should we respond? What will provide order, security, and personal satisfaction, as well as minimizing subordination stress, without simply passing along the pain of the victimized? And without creating new victims?

That leads to another difficult question: If people who seek to hurt others are doing so because they have themselves been hurt, does that diminish their responsibility or guilt? Should we pity the poor perpetrator? Are all victimizers themselves previous victims? And what if they are? Does that let them off the hook? When does passing the pain become passing the buck?

Fortunately, there are ways out of the pain-passing trap. Redirected aggression — and to some extent, violence generally — isn't inevitable, even though, because of our deeper inclinations, forgiveness is difficult. The world's great ethical systems have long struggled to define an acceptable defense of victims that preserves personal and collective security without falling into excess. That challenge is particularly appropriate at a time when the word "evil" is bandied about by politicians and extremists to condone war and terrorism, no less than wars against terrorism. Hence we might all be well advised to explore not only how pain and aggression are typically misplaced or displaced, but also how they should be placedwhich is to say, the same way that porcupines are reputed to make love: very carefully.

The world's oldest wisdom traditions have long been concerned with just that. Pain is prominent in Buddhism, which is founded upon the recognition that suffering is ubiquitous and unavoidable, yet can be minimized. The first of Buddhism's "Four Noble Truths," that life inevitably entails pain, is followed immediately by specific methods to reduce suffering, called the "the Eightfold Path." In addition, among the fundamental teachings of Mahayana Buddhism is the kshanti paramita: "the capacity to receive, bear, and transform the pain inflicted on you by your enemies and also by those who love you."

Christian tradition, too, venerates and validates the role of pain. Christ's agony is widely taken as crucially related to God's redemption of humanity. Hidden within dense layers of theology is this equation, one that is, however, rarely made explicit: the more pain (the more suffering on the part of Jesus), the more redemption for the rest of us. But why? Perhaps because the crucifixion of Christ, who is considered the epitome of innocence, provides an especially potent example of scapegoating as a route to social cleansing. Insofar as Christ suffered ("for our sins"), does that suffering enhance the social, personal, and even biochemical status of the rest of us, helping to overcome subordination stress among his followers?

In a masterpiece of painfully accurate revelation, G.K. Chesterton once wrote that Christianity hasn't been tried and found wanting; rather, it has been found difficult and left untried. Never has that been more true than in cases of personal pain and our reaction to it. Thus, Jesus urged us to love our enemies, and, if slapped, to turn the other cheek. But for millennia — before Jesus and after — hu-man beings and their animal brethren have been far more likely to respond to pain and injury with a retaliating barrage of the same sort, generating yet more injury, more pain.

Perhaps Jesus did not entirely appreciate the magnitude of the demand he was making upon Homo sapiens, because in asking his followers to refrain from retaliation — to absorb pain without passing it on to someone else — he was asking people to inhibit one of their most widely shared, deep-seated inclinations. Nonetheless, potential solutions are all based on an equally deep, equally shared truth: that human beings, perhaps unique among animals, are capable, at least on occasion, and once the issues are made clear, of acting against the promptings of their often troublesome bio-logic.

David P. Barash's most recent book, Natural Selections: Selfish Altruists, Honest Liars, and Other Realities of Evolution, based largely on his collected Chronicle pieces, will be published this month by Bellevue Literary Press. He is working on a book about redirected aggression.

October 11, 2007

கறுப்பரா வெள்ளையரா, இறந்த விமர்சகரின் இன் மூலம் பற்றிய ஆராய்ச்சி

ஒரு துளி கறுப்பு ரத்தம் இருந்தாலும் அவர் கறுப்பரே என்று ஒரு காலத்தில் வெள்ளை இனவெறியர் சொல்லி வந்தனர். இது அமெரிக்காவில். நடப்பில் இது ஒன்றும் அவ்வளவு எளிதாக அமல்படுத்தப் படவில்லை. முடியும், தோல் நிறமும் காட்டிக் கொடுத்தாலொழிய இனத்தைக் கண்டு பிடிப்பது ஒன்றும் எளிதாக இல்லை. மரபணு சோதனைகள் எல்லாம் கடந்த சில ஆண்டுகளில் தான் பரவலாக இருக்கின்றன. அவற்றை வைத்தும் ஒன்றும் சரியாகத் தீர்மானிக்க முடியாது, ஏனெனில் இனம் என்று காட்ட மரபணு சோதனையில் ஏதும் வழி இருக்கிறதாகத் தெரியவில்லை.

யூதர்கள், ஐரிஷ் மக்கள், இத்தாலியர், கிரேக்கர் எல்லாம் கூட ஒரு கட்டத்தில் வெள்ளையர் என்று கருதப் படவில்லை. மெல்ல மெல்லத்தான் அவர்கள் வெள்ளையராக ஓரளவு அங்கீகாரம் பெற்றிருக்கின்றனர். அராபியர்கள், பெர்சியர் (இரானியர்), துருக்கியர் போன்றவர்களில் பலர் வெள்ளையர் போலத்தான் இருக்கின்றனர். ஆனால் அவர்கள் மரபணு சோதனையில் சிறு சிறு வேறுபாடுகள் கொண்டு தெரிவர்.
மரபணுக்களைப் பொறுத்து சுமார் 99.999 சதவீதம் அனைத்து மக்களும் ஒரே போன்றவர் என்று ஒரு சமீபத்திய அறிவியல் கட்டுரை சொல்கிறது. [இதன் விவரம் அடுத்த பதிவில் கொடுக்கிறேன்.] சுமார் 0.001 சதவீதம் வேறுபாட்டை வைத்து ஒருவரை வேற்று இனம் என்று கருதி வெறுப்பதோ ஒதுக்குவதோ அறிவு சார்ந்த செயலாக எனக்குத் தோன்றவில்லை.
ஒருவரின் மதம், நடத்தை, கருத்துகள், அரசியல் நிலை, பாலுறவு வகைத் தேர்வு, பொருள் வசதி போன்ற வெளிக் காரணிகளால் நட்பாகவோ, பொருந்தாதவராகவோ நாம் கருதுவதில் ஏதோ அர்த்தம் இருக்கலாம். ஏனெனில் இவை ஏதோ விதத்தில் நம்மைப் பாதிக்கக் கூடும்.

ஆனால் இனம் என்பது முற்றிலும் கற்பிதமா என்று ஒரு கேள்வியை நாம் கேட்க வேண்டும்.

இன்றைய ஜெர்மனியில் கூட இன்னமும் யூத எதிர்ப்பு அரசியல் இருந்து வருகிறது. இதில் அபத்தம் என்னவென்றால் இன்று ஜெர்மனியில் யூத எதிர்ப்பை வலுவாக்கி வருபவர்கள் யூதர்களுடைய அண்டை நாடுகளில் இருந்து ஜெர்மனிக்குப் புலம் பெயர்ந்த அராபியர், துருக்கர் மேலும் இதர முஸ்லிம்கள். யூதர்களை அழிப்பது சரியே என்று குரல் கொடுக்கும் இவர்களின் அறியாமை எல்லையற்ற படுகுழி.

இந்தியாவில் ஜாதி வேறுபாடுகள் எல்லாம் இருந்தாலும் அது இன வேறுபாடாக உருமாற்றிக் காட்டப் படுவது நடந்தது யூரோப்பியரின் ஆதிக்க காலத்தில் இந்து சமுதாயத்தை உடைக்க ஏதாவது ஒரு நெம்புகோல் தேடிய கிருத்தவ வெள்ளையர்களின் முயற்சியால்தான். தமிழகத்தில் இன்று ஆதிக்கம் செலுத்தும் திராவிட அரசியலின் ஆணி வேரே கால்டுவெல்லின் இனவெறி மொழியியல் ஆய்வுதான். அதன் மூலம் யூரோப்பிய இனவெறி கருத்தாக்கம் என்பதை அறிந்தவர்கள்தான் திராவிட இயக்கத்தினரும் அதன் பாதந்தாங்கிகளும் .
இன்று இனம் என்பதே கிடையாது என்று வாதமிடும் உலக இடது சாரிகளுக்கு நேர் எதிரான நிலையில் உள்ளவர்கள் இந்திய இடது சாரியினர். இன்னமும் ஆரிய திராவிட இன வெறி அரசியலுக்க்குத் தூபம் போட்டு வளர்க்கும் கேவலத்தை உவந்து செய்து வருகின்றனர். இதில் உலக அரங்கில் பெரும் கருத்தியலாளர் என்று வலம் வரும் 'சிந்தனையாளர்கள்' பலரும் உண்டு. இவர்களைக் குறித்து பின்னால் பார்ப்போம்.
இனம் என்பது ஒன்று உண்டா இல்லையா என்று இடது சாரிகளைக் கேட்டால் பலவிதமான உளறலான கருத்துகள் கிட்டும். உலக மக்கள் அனைவரும் ஒன்று என்று ஒரு பக்கமும், இனத்தால் அவர்கள் வேறு வேறு என்றும் ஒரே நேரம் எதிரெதிர் கருத்துகளை வைத்திருக்கும் ஒரு 'பகுத்தறிவான' கூட்டம் அது.
கீழே உள்ள ஒரு கட்டுரை ஒரு அமெரிக்க இலக்கிய விமர்சகரின் விசித்திரமான வாழ்வைப் பற்றியது. அவர் கறுப்பரா, வெள்ளையரா என்பது அவ்வளவு தெளிவாக இல்லை. அவர் தன் வாழ்வை ஒரு வெள்ளையர் போல வாழ்ந்து முடித்தார் என்றாலும் அவருடைய மகளுக்கு இறுதியில் அவருடைய பின்னாளில் அவர் ஒரு கறுப்பர் குடும்பத்தில் பிறந்தவர் என்று தெரிய வருகிறது. அல்லது கருப்பு மூதாதையர் தமக்கு உண்டு என்று தெரிய வருகிறது.
அவர் இறந்து ஆறு வருடங்களுக்குப் பிறகு அவருடைய பெண் சமீபத்தில் வெளியிட்ட ஒரு நூலின் விமர்சனம் கீழே. இது வாஷிங்டன் போஸ்ட் பத்திரிகையில் வந்த ஒரு விமர்சனம்.

இதில் இனம் என்பது ஒன்று உண்டா என்ற கேள்வி அடித்துத் துவைக்கப் படுகிறது. மரபணுக்கள் மூலமாக இனம் என்பதை நிறுவ முடியும் என்ற கருத்தையே இந்த விமர்சகர் எதிர்க்கிறார்.
தமிழகத்திலும், இந்தியாவிலும் பல இடது சாரிகள் மரபணு ஆய்வு மூலம் இந்த ஆரிய திராவிட வரலாறுக்கு ஆதாரம் தேடத் துவங்கி இருக்கும் இந்தக் கால கட்டத்தில் இந்தக் கட்டுரை என்ன வழி காட்டும் என்று எனக்கு யோசனையாக இருக்கிறது.
அறிவியல் பிரச்சினைக்கு இலக்கிய விமர்சனம் வழி காட்ட மூடியாதுதான். ஆனால் வாழ்க்கை என்பது அறிவியலின் கருவிகளைத் தாண்டிய கடும் சிக்கல்கள் நிறைந்தது.
படித்து விட்டு விமர்சனம் அனுப்புங்கள்.
சூ.கா.
_____________________________________________________________________
Jonathan Yardley
A father and daughter, torn between racial boundaries.

By Jonathan Yardley
Sunday, September 30, 2007; BW15

ONE DROP

My Father's Hidden Life -- A Story of Race and Family Secrets

By Bliss Broyard

Little, Brown. 514 pp. $24.99

For most of the 1970s and '80s, Anatole Broyard was a staff book critic for the New York Times, writing two or three reviews a week for its daily pages, as opposed to its Sunday book section. My own career in that same line of work was just getting under way, and I paid close attention to what he was doing. He obviously was intelligent and erudite, but I sometimes felt that he was more interested in showing his technical skills than in giving books deep, fair readings. Still, he enjoyed considerable influence and was widely known in literary circles.

Broyard died in October 1990 after a long, painful and debilitating struggle against cancer, but continuing interest in him was insured by the disclosure that he was, as his wife told their two adult children, "part black." According to Bliss Broyard, "My mother explained that my father had 'mixed blood,' and his parents were both light-skinned Creoles from New Orleans, where race-mixing had been common. She said that his parents had to pass for white in order to get work in 1930s New York, which confused my father about what their family was, or was supposed to be." Broyard's response to this, as he moved from Brooklyn to Greenwich Village and began to live a bohemian life in the postwar years, was to "pass for white." He did so for the rest of his life, though many who knew him were aware, or suspected, that his racial identity was not precisely as he presented it.

Six years after Broyard's death, the New Yorker published an article by Henry Louis Gates, the well-known professor of African American studies, called "The Passing of Anatole Broyard," which was, predictably, the cause of much heated gossip in literary, journalistic and publishing circles. Now Broyard is back in the news with the appearance of this family history and memoir by his daughter. One Drop, Bliss Broyard tells us, takes its title from "the 'one-drop rule,' which classified as black any Americans with the tiniest fraction -- just one drop -- of 'black blood.' It had grown out of a practice dating back to slavery known as hypodescent, which assigned someone of mixed parentage to the lower-status race, and had become the legal and social custom in the era of legalized 'Jim Crow' segregation." The book is an account of her effort to discover just "how black" her father was and thus, obviously, "how black" she is.

It's a peculiar book. The author's sincerity and honesty are evident and appealing, and her subject is of continuing interest and importance even now, when an appreciable amount of heat has been drained from our old obsessions and fears about race. The problem is that One Drop is actually at least five books -- her father's story, her own story, her family's story, the story of "passing" and the story of racial identity in the United States -- and its author doesn't do a very good job of weaving them together into a seamless, coherent narrative. For well over 100 pages, she wanders this way and that, telling this story and that, interviewing this person and that, circling around the one story of greatest interest -- her father's -- but never really pouncing on it. Then she takes a detour of nearly 200 pages to explore the Broyard family's history in New Orleans. Not until she gets past page 300 does she finally focus fully on her father, and one can't help wondering how many readers she will have lost by then.

"My father had left behind so much unfinished business," she writes, and her hope is to wrap it up. This would be a difficult task in any circumstances, but it is all the more so in this case because of the exceedingly complex life, character and legacy of Anatole Broyard. He was by most accounts immensely charming and energetic, positively catnip to women (and quick to take advantage of it). But he was also boastful and vain, as well as an operator who, as one friend told Gates, was " exorbitantly in control" and "fastidious about managing things." Thus it is extremely difficult, for example, to figure out why he chose to pass for white, or to get much sense of how this choice weighed on him, as anecdotal evidence suggests it did.

He was born in New Orleans in 1920, into a family that had been there since the early 1750s when Etienne Broyard, "a white man from France . . . landed in the Louisiana Territory." Within a century "the Broyards had begun to be identified in public records as mulatto or free people of color." Bliss Broyard's research has convinced her that "the moment of mixing in the Broyard family" occurred in 1855, when her great-great-grandfather married a free woman of color. Her account of how subsequent generations of the family dealt with (or ignored) this legacy is interesting, but she insists on larding it up with a boilerplate history of American laws, controversies and customs regarding race. By her own honest admission she knew almost nothing about race in America until her father's secret was revealed, and to her credit she studied it closely; it really was not necessary, though, to regurgitate so much of what she learned -- most of which will be familiar to many readers -- in this book, which is too long by about 150 pages.

It's also unfortunate that she spends so much time fretting about her racial identity. The notion of crossing "from white to the other side" clearly has some appeal for her, and when her New Orleans relatives call her "pure white," she is uncomfortable, yet she just can't let go: "It had been nearly a decade since my father had died, since I'd learned of his -- and my -- African ancestry, since I'd begun reading and learning and talking about race. And despite my glimmerings of double consciousness, I didn't yet feel black. I was still waiting for an 'Aha!' moment, an affirmation of this identity down deep in my bones." Fortunately, within just a few pages of this unbearably PC declaration, Broyard admits that "the thought of how blinded I'd been in my obsession to find a slave ancestor made me feel sick with shame," which redeems her, as does this:

"I hated the image of myself in [a black acquaintance's] eyes -- a silly white girl making a big fuss over nothing. I hated how uncertain I became when trying to locate myself on this racial landscape or even recognize its terrain. Torn between trying to pinpoint the boundaries between black and white and an urge to deny their existence at all, I was caught in a dialectical tug-of-war. The futility of my efforts reminded me of a skit I once saw in which a man kept moving a wooden chair around an empty white room, unable to find a spot that suited him, despite their being all the same."

As she seems finally to have understood, the whole notion of race is fraught with ambiguity. I won't reveal the results of the DNA tests she finally had done, but what they proved more than anything else is that racial identity is a complete mare's nest. In issues of race as in so many others, "Know thyself" is an injunction almost impossible to obey. Notions of racial purity are as false as notions of racial impurity; there's no such thing, though much of human history has been frittered away by people trying to legitimize race as the defining element in what passes for civilization.

Still, it's not really surprising that Anatole Broyard chose to live as he did. He didn't look in the least bit "black," and he wanted to enter the world of literature, which in the 1940s and '50s in this country was patently "white." He placed personal ambition ahead of racial identity or racial solidarity or whatever one cares to call it, and his daughter makes a pretty solid argument for him: "My father truly believed that there wasn't any essential difference between blacks and whites and that the only person responsible for who he was supposed to be was himself." To be sure, a black friend had a point when he "sniped that my dad was black when he entered the subway in Brooklyn and white when he got out at West Fourth Street in Manhattan," but that's the choice he made, and he managed to live with it.

His daughter asks: "Was my father's choice rooted in self-preservation or in self-hatred? Did it strike a blow for individualism or for discrimination? Was he a hero or a cad?" Those are good questions, and as Bliss Broyard well understands, they can never be definitively answered, though my own hunch is that "All of the above" gets somewhere close to the truth. *

Jonathan Yardley's e-mail address is yardleyj@washpost.com.

© 2007 The Washington Post Company

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சில வாசகர்கள் மேற்கண்ட கட்டுரைக்குத் தம் மறுவினையைத் தந்திருக்கிறார்கள். அவற்றில் ஒன்றைத் தருகிறேன்.

ONE DROP My Father's Hidden Life -- A Story of Race and Family Secrets

By Jonathan Yardley -

Comments
padpowell wrote:
The best part of Bliss Broyard's latest book is her description of the dying Louisiana Creole culture and ethnic identity. Even Bliss realizes that the Creoles are not "black" or "African American," but she is not consistent in separating the two identities, often using the word "black" when she should say "Creole." Of course, her miseducation in forced hypodescent and the "one drop" theory by her newly discovered black-identified Broyard relatives had a lot to do with that. Creoles have been subjected to what one might a call a "documentary genocide" (to use the phrase coined by Brent Kennedy, author of The Melungeons: The Resurrection of a Proud People : An Untold Story of Ethnic Cleansing in America). Since the Jim Crow period, both whites and blacks in Louisiana have worked to destroy the unique Creole ethnicity and forcibly assimilate them into the "Negro/black/African American" fold by simply refusing to recognize Creoles as anything but "Negroes." The Creole relatives Bliss encounters are thus divided into those who identify with the "white race" and those who believe all Creoles are part of the "black race." Bliss, as a liberal, sensitive white girl, tends to automatically give more credibility to the "black" side of the family, even when common sense should tell her that have only internalized an inferiority complex that makes them think they are unworthy of being anything but "black." Some great books on this documentary genocide are:
White by Definition: Social Classification in Creole Louisiana by Virginia R. Dominguez and Legal History of the Color Line: The Rise And Triumph of the One-drop Rule by Frank W. Sweet and Passing for Who You Really Are.

Bliss disappointed me greatly by seeming to buy into the old canard that there is something immoral about a person with even a small amount of "black" ancestry identifying himself as "white." Hello, Bliss. Have you heard of Latinos and Arabs? They are almost always partially of sub-Saharan African ancestry but don't call themselves "black." Most of them identify as "white" on the census and other forms. You live in New York City, which has more "mulattoes" than New Orleans. However, because they are also Puerto Ricans, their "black blood" doesn't count? Why?

Many reviewers in the media have painted Anatole Broyard as a villain who deprived his children of some kind of wonderful heritage. I side with Anatole. First, he was not "black" and he would have been guilty of emotional abuse if he had taught his children to embrace a false racial identity invented as a stigma. A few say that he should have taught them about their wonderful Creole heritage. Why? It is a dying ethnicity and its people are being assimilated by force into the "black" fold. Creoles either go as "black" or "white." The few remaining Creoles who seek an in-between path are dying out and have no political power. I also noted, from reading the book, that Bliss is a very emotional, impressionable person. She was too full of liberal guilt and easily enamoured of anything "black" as a grown woman. I shudder to think how she would have reacted as a teenager or child. Her brother Todd seems to be far more stable. There is no evidence that the great revelation that his father was "tarbrushed" caused him to change his identity or indulge in racial angst.

There is a scene in the book where Alexandra Broyard (the supposedly "pure white" Norwegian-American mother of Bliss and Todd) discovers that she has partial Native American ancestry. It is interesting to her, but she has no plans to change her identity or even check more "race" boxes on those omnipresent forms. She is like most white Americans in that regard, since American Indian ancestry is not presented as a source og genetic inferiority that destroys forever one's European heritage or right to call oneself "white." Shouldn't "black" ancestry in white people be decriminalized and treated like American Indian ancestry?
10/1/2007 10:18:44 AM


September 03, 2007

ரஷ்ய, கிழக்கைரோப்பிய, மேலை கம்யூனிஸ்டுகள் வடித்த இருண்ட உலகம்

ராபர்ட் சர்வீஸ் ஒரு மிதமான இடது சாரி வரலாற்றாசிரியர். ஆசிரியர் என்றால் புத்தகம் எழுதுபவர் என்ற கருத்தில் சொல்கிறேன். முன்னால் லெனின், ஸ்டாலின் பற்றி இடது சாரியால் அதிகம் பெருங்குரலெடுத்துக் குறை சொல்ல வழியில்லாது ஆதாரங்களுடன் அந்த 'புரட்சித் திலகங்களைப்' பற்றி சில புத்தகங்கள் எழுதி இருக்கிறார்.
இப்போது ஒரு புத்தகம். 2007 இல் வெளி வந்தது. விவரம் இதோ:
_______________________________________________________________________________________________
comrades! a history of world communism
//// By Robert Service

////// harvard university Press • 2007 • 582 pages • $35
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மைகெல் காஸின் எழுதியது ஒரு சிறு புத்தக விமர்சனம்தான்; ஆனால் அதற்கு மேல் போய் கம்யூனிச நாடுகள் எப்படித் தம் மக்களை ஒரு இருண்ட வாழ்வில் ஆழ்த்தின என்பதையும், மேலை தாராள வாத சிந்தனையாளரும் செயலூக்கம் கொண்ட மனிதர்களும் எப்படி கம்யூனிசத்தின் கொள்கைகளைத் தமதாக வரித்துக் கொண்டு கம்யூனிஸ்டு நாடுகளுக்குத் தவறான புரிதலில் குடை பிடித்தார்கள், பின் எப்படி தம் முட்டாள்தனத்தைப் புரிந்து கொண்டு விலகினார்கள் என்பதை எல்லாம் சுருக்கமாக விவரிக்கிறார். சில மேற்கோள் பத்திகள் இங்கே:
Comrades! makes no original argument and contains only a smattering of new evidence. Still, it is valuable to have the whole grim, brutal record laid out in one thick volume covering everything from the downfall of Czarism to the oddball tyranny of North Korea’s Kim Jong Il. To learn about the millions who starved after Mao Zedong decreed the rapid industrialization of rural China or about the 4,500 chandeliers that glittered in the palace of strongman Nicolae Ceausescu in Romania (a country where the masses lacked reliable electricity) should dispel any myths about the morality of communist rule. Service has written a textbook with a bad attitude, and his stance is fully justified by the facts.
.................................>>>>>>........................>>>>>>>>>>>>>>>>>>.....................................................
But a funny thing happened on the way to the barricades: Most communists in Western Europe, Japan, and the Americas gradually became cheerleaders for liberal ideals and social-democratic policies themselves. Party leaders realized that, even among the millions who voted for CP candidates, there were few who longed to repeat the Soviet "experiment" in the fields of Tuscany or the blue-collar suburbs of Paris or São Paulo. By the 1960s, communists in the industrial West tended to speak about revolution the way Unitarians talk about God–as a source of one’s principles but not a factor in one’s future. The leaders of the French Communist Party even labeled the student radicals of 1968 foes of the working class and tried, unsuccessfully, to stop union members from engaging in their own strike against the government. Notwithstanding the Cold War, meaningful distinctions between the domestic policies of socialists and communists had dissolved before the Soviet empire collapsed two decades later.
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Robert Service concludes his book with a warning. Leaders from Hitler to Saddam Hussein to Osama Bin Laden may have hated communism and worked for its annihilation, he writes. "Yet they were influenced by communist precedents even while regarding it as a plague bacillus. Communism has proved to have metastasizing features. It will have a long afterlife even when the last communist state has disappeared." But, for all his learning, Service’s grasp of history is both too short and too narrow. Thought-controlling tyrannies existed long before the consolidation of the October Revolution, and the persistence of the breed has little to do with the rise or fall of either the USSR or those regimes that survive in East Asia and Cuba who trace their origins to the Bolshevik example. Similarly, the egalitarian vision that once filled such people with a will to power and self-sacrifice predated communism as well. The eclipse of the ideology described in Comrades! just initiated a new phase in an ancient, and agonizing, conflict. It neither extinguished the hope for a pure moral order nor the peril of allowing those who believe in such a dream to capture state power.
Michael Kazin
________________________________________________________________________
இவ்வளவு காரமாக எழுதினாலும் காஸின் கம்யூனிசம் என்ற துர்க்கனவு எப்படி மேலை முதலாளியங்களையும் வேறு சில அரசியலமைப்புகளையும் தம் மக்களில் சாதாரண மக்களுக்கு நல் வாழ்வு தருவது அவசியம் என்று உணர வைத்தன என்பதைச் சுட்டுகிறார். கடைசிக் கம்யூனிஸ்டு இறந்த பின்னும் இந்தக் கருத்தியலின் விளைவுகள் நெடுநாள் உலக அரசியலில் தென்படும் என்றும் அது உடலுக்கும் ஒரு நோயெதிர்ப்பு சக்தியைத் தூண்டும் வைரஸுடைய விளைவு போல என்றும் சுட்டுகிறார்.
இதை மட்டும் படிக்காது சர்வீஸுடைய புத்தகத்தையும் படியுங்கள்.
கட்டுரையின் சுட்டி இதோ:
http://www.democracyjournal.org/printfriendly.php?ID=6537

அமெரிக்காவில் நம்பிக்கை இழப்பும் அரசியல் மாறுதல்களும்

முந்தைய பதிவில் எப்படி அமெரிக்க சமுகத்தில் தன்மையச் சிந்தனை குறைந்து உலகம் தம் ஆட்சிக்குட்படாதது என்பது புரிந்து ஓரளவு அரசியல் தளத்தில் (சிந்தனைத் தளங்களிலும்) நம்பிக்கை குறைந்து மறுபரிசீலனை துவங்கி உள்ளது என்று எழுதினேன். இதைப் பிரசுரித்த பின் இன்று வேறு வலைத் தளங்களில் படிக்கும் போது கீழ்க் கண்ட ஒரு கட்டுரை கிட்டியது. என் ஊகமான முடிவு சரிதான் என்று இந்த அலசல் கட்டுரை பல சான்றுகளுடன் நிறுவுகிறது.
ஊகச் சிந்தனையும் அலசல் சிந்தனையும் கை கோர்க்கும் போது கூடுதலான தெளிவும், உறுதிப்பாடும் கிட்டுகின்றன.
சில வரிகள் இக்கட்டுரையில் இருந்து மேற்கோளாக இதோ:

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George W. Bush’s stubborn certitudes–about Iraq, about executive power, about the readiness of peoples everywhere to embrace democracy–have created a bull market for doubt, not least among conservatives. While there is still no shortage of assured conviction in American politics, it has become intellectually fashionable to place doubt at the heart of one’s political principles. Atlantic senior editor Andrew Sullivan has filled his blog–and his most recent book–with a call for a renewed place for doubt in conservative politics, drawing on everyone from Socrates to the twentieth-century British philosopher Michael Oakeshott. Likewise, many liberals, and in particular those hawks left soul-searching by their erstwhile support for the Iraq war, have turned to ancestral liberal doubters, most notably the theologian Reinhold Niebuhr, for intellectual succor.
மேற்கோள் முடிவு.
இனி போய்ப் படிக்கச் சுட்டி இதோ:

http://www.democracyjournal.org/article.php?ID=6532

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படித்து விட்டு உங்கள் கருத்துகளை இங்கு பதியுங்கள், அல்லது மின்னஞ்சலில் எனக்கு அனுப்புங்கள்