Suchergebnisse

Rather than offering a detailed analysis of the contents of the draft constitution, a consideration of the extent to which the EU is hampered in its ability to posit a counter-balance to the USAn Empire, or indeed a reflection on the economic and political ramifications of the document's proposals, the aim of this article is to take a step back from the construction that is Europe, and pause to consider the Utopian assumptions about cultural identity which subtend the notion of union, as expressed within the draft constitution and more broadly across discourses about 'Europeanness' as shared destiny which underpin the European project. In order to do so, I draw on theories of national identity and belonging, at the same time interrogating the applicability of the national paradigm to that strange locality, the transnational, pan-regional, post-state, and potentially pre-federal entity which the EU is becoming. In the process, I offer readings of both the constitution, and a less official EU text, namely an online comic entitled 'Captain Euro' which was used to promote the single currency. I am particularly interested in investigating the narrativisation of culture and identity as a process of unification or union, and in opening up a space to consider the ideological imperatives which suture this master(ful) narrative. Slavoj Žižek's theorisation of the moment of narrative possibility as one which occludes its own foundational basis is then considered as one which applies to a form of status denial inherent within the official European narrative of union, and through suggesting a queer reading of the Euroseminal myth of Zeus and Europa, I trace this Žižekian moment of 'inherent transgression' as a counter force undermining European cultural unification—paradoxically, perhaps queerly or strangely, a concomitant desire for the discrete and the separate, a drive towards distinction and difference which arises as a necessary complement to its signaled togetherness.

Rather than offering a detailed analysis of the contents of the draft constitution, a consideration of the extent to which the EU is hampered in its ability to posit a counter-balance to the USAn Empire, or indeed a reflection on the economic and political ramifications of the document's proposals, the aim of this article is to take a step back from the construction that is Europe, and pause to consider the Utopian assumptions about cultural identity which subtend the notion of union, as expressed within the draft constitution and more broadly across discourses about 'Europeanness' as shared destiny which underpin the European project. In order to do so, I draw on theories of national identity and belonging, at the same time interrogating the applicability of the national paradigm to that strange locality, the transnational, pan-regional, post-state, and potentially pre-federal entity which the EU is becoming. In the process, I offer readings of both the constitution, and a less official EU text, namely an online comic entitled 'Captain Euro' which was used to promote the single currency. I am particularly interested in investigating the narrativisation of culture and identity as a process of unification or union, and in opening up a space to consider the ideological imperatives which suture this master(ful) narrative. Slavoj Žižek's theorisation of the moment of narrative possibility as one which occludes its own foundational basis is then considered as one which applies to a form of status denial inherent within the official European narrative of union, and through suggesting a queer reading of the Euroseminal myth of Zeus and Europa, I trace this Žižekian moment of 'inherent transgression' as a counter force undermining European cultural unification—paradoxically, perhaps queerly or strangely, a concomitant desire for the discrete and the separate, a drive towards distinction and difference which arises as a necessary complement to its signaled togetherness.

This special issue of PORTAL constitutes an indirect, sideways reflection on the EU's move toward (re-)discovering, establishing, and promoting shared cultural values. It seeks to unveil not the official historical contexts and traditions in which contemporary inventions of cultural identity occur. Rather, its aim is to discover and listen to competing voices and alternative visions—be they cultural, social, political, literary or cinematic—that give different shape to trans-European identities and model union, commonality, and belonging, according to transregional or translocal values. The special issue, then, is an exploration of possible forms of frictions occurring across the European cultural and historical landscape. It questions the pre-eminence of formal EU discourses on values, and the branding of Europe in the global marketplace, by listening to marginalised, unheard or discordant Euro-voices. The issue demonstrates the need for more rigorous theorisations of notions such as 'value,' whether 'shared' or 'cultural,' in the European region, and posits alternative mappings and visions of European belonging and identity. The essays included in this special issue consider Europe as a locus of frictions, consensus, tension, contestation and reconciliation. This locus is capable of co-locating Scotland with the Costa Brava, crossing Swedish views of Russia with their converse, recognising a Europe of borders that continuously unfold, acknowledging the interference of historical memories, and inflecting the Houellebecquian Euro-futurescape with Greco-Australian undertones; to cite a few examples of vibrant transvaluation occurring in the issue.

Film in Australia, as with many other nations, is often seen as an important cultural medium where national stories about belonging and identity can be (re)produced in pleasurable and, at times, complicated ways. One such film is Ray Lawrence's Lantana. Although striking a chord in Australia as a good film about ' basically good people', people that rang 'brilliantly' true (Lantana DVD 2002), this paper argues that, at the same time as it produces a fantasy of a 'good' Australia, the film also conducts a regulation of what constitutes Australianness. In many ways the imaginary of Australia offered in this film, to its contemporary, urban, professional and intellectual elite audience, still draws on and (re)produces a vision of an Australian community that uses the same narrative frameworks of protection and control as the cruder discourses of 'white Australia' offered to an earlier generation of cinema-goers. This film's central motif of the lantana bush, the out of control weed, that is known as both foreign and local is here emblematic of tensions about belonging, place and otherness. Yet while, within the film's knowingly reflexive purview any remaining potential for racism is understood and itself under control – we know how to be good mutliculturalists –it is the trope of sexuality in Lantana that provides the real sense of edginess and anxiety about belonging. It is in this arena that the film sets up an idea of danger and –less self-consciously, and in the end more aggressively – marks out who is and who is not part of the community. In this context the motif of lantana signals an ambivalence about difference and the exotic. Lantana is both desirable because of the difference in its attractive Latin looks and repulsive or feared because of other qualities inherent within its difference: a refusal to behave and a propensity to get out-of control, spread and potentially take over. The film here explores desire for a taste of the other (a gay man, a newly separated woman, a Latin dance teacher). However, these fantasies are in the end emphatically shut down as the film ends by producing a vision of subtly normalised hetero, mono, familial (though not necessarily happy) forms of desiring, loving and reproducing in contemporary Australia.

This special issue of PORTAL constitutes an indirect, sideways reflection on the EU's move toward (re-)discovering, establishing, and promoting shared cultural values. It seeks to unveil not the official historical contexts and traditions in which contemporary inventions of cultural identity occur. Rather, its aim is to discover and listen to competing voices and alternative visions—be they cultural, social, political, literary or cinematic—that give different shape to trans-European identities and model union, commonality, and belonging, according to transregional or translocal values. The special issue, then, is an exploration of possible forms of frictions occurring across the European cultural and historical landscape. It questions the pre-eminence of formal EU discourses on values, and the branding of Europe in the global marketplace, by listening to marginalised, unheard or discordant Euro-voices. The issue demonstrates the need for more rigorous theorisations of notions such as 'value,' whether 'shared' or 'cultural,' in the European region, and posits alternative mappings and visions of European belonging and identity. The essays included in this special issue consider Europe as a locus of frictions, consensus, tension, contestation and reconciliation. This locus is capable of co-locating Scotland with the Costa Brava, crossing Swedish views of Russia with their converse, recognising a Europe of borders that continuously unfold, acknowledging the interference of historical memories, and inflecting the Houellebecquian Euro-futurescape with Greco-Australian undertones; to cite a few examples of vibrant transvaluation occurring in the issue.