Notes

Introduction

1 . Plato, The Republic, trans. Benjamin Jowett (Mineola, New York: Dover, 2000): 259. 2 . See Vincent Geoghegan, Utopianism and Marxism (London and New York: Methuen, 1987): 2. 3 . Ernst Bloch, The Principle of Hope, trans. Neville Plaice, Stephen Plaice, and Paul Knight, 3 vols. (Oxford: Blackwell, 1986): 13. 4 . Ellen Dissanayake, Homo Aestheticus: Where Art Comes From and Why, 1995 ed. (Seattle: University of Washington Press, 1992, 1995): 51 ff. 5 . See especially Dissanayake, Homo Aestheticus ’: 51 ff. Also, Edward O Wilson, The Social Conquest of Earth (London and New York: Liveright, 2012) and Roger Fry, Art and Commerce, The Hogarth Essays (London: The Hogarth Press, 1926). 6 . The Holy Bible , King James ed. Genesis 3:22. 7 . Peter Thompson, ‘Ernst Bloch and the Quantum Mechanics of Hope’, in Atheism in Christianity (London and New York: Verso, 2009): 167. 8 . Ernst Bloch, Atheism in Christianity, trans. JT Swann (London and New York: Verso, 2009). 9 . Philip Pullman, The Subtle Knife (London: Scholastic Children’s Books, 2000): 548. 10 . Ernst Bloch, The Spirit of Utopia, trans. Anthony A Nassar, Meridian: Crossing Aesthetics (Palo Alto, CA: Stanford University Press, 2000): 1. 11 . Richard Howells, The Myth of the Titanic (London and New York: Macmillan Press and St Martin’s Press, 1999); Richard Howells, The Myth of the Titanic , second ed. (Basingstoke, Hampshire and New York: Palgrave Macmillan, 2012). 12 . I owe the expression ‘necessary illusions’ to Fred Inglis. He used it in his pre-publication endorsement for the first edition of Howells, The Myth of the Titanic . 13 . See Clifford Geertz, The Interpretation of Cultures (New York: Basic Books, 1973). 14 . Richard Howells, ‘Sorting the Sheep from the Sheep: Value, Worth and the Creative Industries’, in The Public Value of the Humanities , ed. Jonathan Bate, Warwick Interdisciplinary Studies in the Humanities (London and New York: Bloombsury Academic, 2011). I cite Geertz, The Interpretation of Cultures : 18.

1 Visions and Derisions of Utopia

1 . Thomas More, Utopia , trans. Paul Turner (Penguin Classics) (Harmondsworth: Penguin, 1965): 69–70. 2 . Ibid., 8.

156 Notes 157

3 . The Holy Bible , King James ed. Genesis 2:9. 4 . Ibid., Genesis 3:17. 5 . Darren Webb, ‘Exploring the Relationship Between Hope and Utopia: Towards a Conceptual Framework,’ Politics, 28(3) (2008): 202. 6 . Ibid., 197. 7 . Ibid., 203–4. 8 . Ibid., 202. 9 . Plutarch, ‘Lycurgus’. In The Utopia Reader, ed. Gregory Claeys and Lyman Tower Sargent (New York: New York University Press, 1999): 19. 10 . Ibid. 11 . Ibid., 20. 12 . Tommaso Campanella, ‘La Citta del Sole: Diologo Politico. The City of the Sun: A Political Dialogue’. In The Faber Book of Utopias , ed. John Carey. (London: Faber and Faber, 1999): 61. 13 . Ibid., 62. 14 . Yevegny Zamyatin, ‘We’ (excerpt). In The Faber Book of Utopias, ed. John Carey (London: Faber and Faber, 1999): 387. 15 . Zamyatin is also transliterated as Zamiatin, for example in Gregory Claeys and Lyman Tower Sargent, eds, The Utopia Reader (New York and London: New York University Press, 1999). 16 . Marge Piercy, ‘Woman on the Edge of Time’ (excerpt). In The Faber Book of Utopias , ed. John Carey (London: Faber and Faber, 1999): 476. 17 . Charlotte Perkins Gilman, ‘Herland’ (excerpt). In The Faber Book of Utopias , ed. John Carey (London: Faber and Faber, 1999): 386. 18 . Marquis de Sade, ‘Justine, Philosophy of the Bedroom, Eugénie de Franval and Other Writings’ (excerpt). In The Faber Book of Utopias, ed. John Carey (London: Faber and Faber, 1999): 167. 19 . Ibid., 169. 20 . John Carey, The Faber Book of Utopias (London: Faber and Faber, 1999): 168. 21 . Catriona Ní Dhúill, ‘Engendering the Future: Bloch’s Utopian Philosophy in Dialogue with Gender Theory’. In The Privitisation of Hope, ed. Peter Thompson and Slavoj Žižek. SIC . (Durham, NC: Duke University Press, 2013): 147. Further recent work on feminism and gender, sex and sexual identity has been done by Lucy Sargisson, to whom I shall return. See Lucy Sargisson, Fool’s Gold: Utopianism in the Twenty-First Century . Basingstoke and New York: Palgrave Macmillan, 2012. See especially Sargisson’s chapters 3 and 4. 22 . Ní Dhúill, ‘Engendering the Future: Bloch’s Utopian Philosophy in Dialogue with Gender Theory,’ 148. 23 . Ibid., 158. 24 . Ibid., 150. 25 . Ibid. 26 . Ibid., 146. 27 . Ibid., 151. 28 . Ibid., 144. 29 . Ibid., 146. 30 . Ibid., 152. 31 . I gratefully acknowledge research funding and support from the Center for the Arts in Society, Carnegie Mellon University, Pittsburgh, for enabling my research in the United States. 158 Notes

32 . Ephrata Cloister tour brochure, printed 2003. 33 . Karl JR Arndt, George Rapp’s Harmony Society (1785–1847), revised ed. (Cranbury, NJ: Associated. Universities Press, 1972): 30. 34 . The community is variously spelled Harmonie (antique usage) and Harmony (modern). I have chosen the spellings according to context. 35 . John Archibald Bole, The Harmony Society, ed. Marion Dexter (Philadelphia: Americana Germanica Press, 1905): 51. 36 . Ibid., 52. 37 . Advertisement from the Pittsburgh Mercury and the Pittsburgh Gazette , reprinted in Arndt, George Rapp’s Harmony Society (1785–1847) : 135. 38 . See ibid., 296. 39 . Cited in ibid., 226. 40 . Cited in ibid., 325. 41 . See, for example, the accounts in ibid., 336 ff. 42 . Ibid., 334. 43 . Ibid., 6. 44 . More, Utopia : 80. 45 . For more on the Harmony Society, see Aaron Williams, The Harmony Society at Economy, Penn’a (New York: Series of AMS Press, 1971). Communal Societies in America; Arndt, George Rapp’s Harmony Society (1785–1847) . 46 . Old Economy Village tour material, summer 2004. 47 . New Harmony tour material, summer 2004. 48 . According to Williams, they attempted to extract gold from stones: ‘A small portion of the precious metal at length appeared, but how it got into the crucible is not explained.’ Williams, The Harmony Society at Economy, Penn’a : 78. See also Arndt, George Rapp’s Harmony Society (1785–1847) : 497, 532. 49 . Claeys suggested this hypothesis in a presentation to the 14th International Conference of the Utopian Studies Society at New Lanark, Scotland, in July 2013. 50 . For a ‘taxonomy’ of modes of Utopian thought, see Webb, ‘Exploring the Relationship Between Hope and Utopia: Towards a Conceptual Framework.’ 51 . Ibid., 202. 52 . Ibid., 197. 53 . Ibid., 203–4. 54 . Ibid., 202. 55 . Stephen Bann, ‘Introduction’. In Utopias and the Millennium , ed. Krishnan Kumar and Stephen Bann. Critical Views (London: Reaktion Books, 1993): 1. 56 . Ibid., 6. Bann in turn cites Louis Marin, ‘The Frontiers of Utopia,’ in Utopias and the Millennium , ed. Krishnan Kumar and Stephen Bann, Critical Views (London: Reaktion Books, 1993): 7–16. 57 . Edward Rothstein, Herbert Muschamp, and Marirn E Murray, Visions of Utopia (New York Public Library Lectures in Humanities) (Oxford: Oxford University Press, 2003). 58 . See especially Furaha D Norton’s Introduction: vii–ix. 59 . Martin Parker, ‘Utopia and the Organizational Imagination: Outopia’. In Utopia and Organization , ed. Martin Parker. The Sociological Review Monographs (Oxford and Malden, MA: Blackwell, 2002): 1. 60 . Ibid. 61 . Ibid., 3. Notes 159

62 . Ibid., 8, note 7. 63 . Frederic Jameson, Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions (London and New York: Verso, 2007). 64 . Ibid., vii. 65 . Ibid., xii. 66 . Ibid., xvi. 67 . Jörn Rüsen and Thomas W Rieger Michael Fehr, eds, Thinking Utopia: Steps into Other Worlds . Making Sense of History (New York and Oxford: Berghahn, 2007): ix. 68 . Ibid. 69 . Michael D Gordin, Helen Tilley, and Gyan Pradash, eds, Utopia/Dystopia (Princeton and Oxford: Princeton University Press, 2010): 1. 70 . Ibid., 3. 71 . Ibid. 72 . Ibid., 14. 73 . Roger Scruton, The Uses of Pessimism (London: Atlantic Books, 2010). 74 . Ibid., 1–2. 75 . Ibid., 3. 76 . Ibid., 64. 77 . Ibid. 78 . Sargisson, Fool’s Gold: Utopianism in the Twenty-First Century : 5. 79 . Ibid., 2. 80 . Ibid., 1. 81 . Ibid., 3. 82 . Ibid., 8. 83 . Ibid., 10–22. 84 . Ibid., 7. 85 . Ibid., 15. 86 . Ibid., 21. 87 . Ibid., 15. 88 . Ibid. 89 . Ibid., 4. 90 . Ibid., 22. 91 . Ibid., 24–5. 92 . Ibid., 27. 93 . Ibid., 25. 94 . Ibid., 29. 95 . Ibid., 30. 96 . Ibid., 37. 97 . Ibid., 38. 98 . Ibid., 39. 99 . TW Adorno, ‘On Resignation’. In The Culture Industry , ed. JM Bernstein (London: Routledge, 1991): 172–5. 100 . ‘Can Hope Be Disappointed?’ was indeed the title of Bloch’ inaugural lecture at the University of Tübingen in 1961. See Jack Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination’. In The Utopian Function of Art and Literature, Studies in Contemporary German Thought (Cambridge, Massachusetts: The MIT Press, 1988): 25. 101 . Sargisson, Fool’s Gold: Utopianism in the Twenty-First Century : 239. 160 Notes

102 . Ibid. 103 . Ibid. 104 . Ibid., 242. 105 . Ibid., 243. 106 . Ibid. 107 . Ruth Levitas, Utopia as Method (Basingstoke and New York: Palgrave Macmillan, 2013): viii. 108 . Ibid., xii. 109 . Ibid., 11. 110 . Ibid., xii. 111 . Ibid. 112 . Ibid., xiii. 113 . Ibid., xii–xv. 114 . Ibid., xviii. 115 . Ibid., 5. 116 . Ibid., 19. 117 . Ibid., 44. 118 . Ibid. Levitas in turn cites Ernst Bloch, The Principle of Hope (3 vols.). Trans. by Neville Plaice, Stephen Plaice, and Paul Knight (Oxford: Blackwell, 1986): 1068. 119 . Levitas, Utopia as Method : 153. 120 . Ibid. 121 . Ibid., 153–4. 122 . Ibid., 217. 123 . Ibid., 220. 124 . Frank E Manuel and Fritzie P Manuel, Utopian Thought in the Western World (Cambridge, MA: Belknap Press, Harvard University Press, 1979): 759–800. 125 . Ibid., 788. 126 . Ibid., 801. 127 . Ibid., 814. 128 . Michael J Sandel, What Money Can’t Buy: The Moral Limits Of Markets (Harmondsworth: Penguin, 2012): 203.

2 Ernst Bloch and Utopian Critical Theory

1 . TW Adorno and Max Horkheimer, ‘The Culture Industry, Enlightenment as Mass Deception,’ in The Dialectic of Enlightenment (London: Verso, 1979): 143. 2 . See Graham McCann, ‘Message in a Broken Bottle,’ The Times Higher Education Supplement , 4 August 1989: 11. 3 . TW Adorno, ‘On Resignation,’ in The Culture Industry , ed. JM Bernstein (London: Routledge, 1991): 86. 4 . I allude to Bloch’s phrase ‘wishful images in the mirror’ from Ernst Bloch, The Principle of Hope, trans. Neville Plaice, Stephen Plaice, and Paul Knight (Oxford: Blackwell, 1986): 13. 5 . Adorno, ‘On Resignation’: 85. 6 . Adorno and Horkheimer, ‘The Culture Industry’: 42. 7 . Ibid., 124. Notes 161

8 . Ibid., 138. 9 . Ibid., 144–7. 10 . Fred Inglis, Media Theory (Oxford and Cambridge, MA: Blackwell, 1990): 78. 11 . Mark Crispin Miller, Boxed In (Evanston, IL: Northwestern University Press, 1988): 16. 12 . See, for example, Graham McCann, Marilyn Monroe (Cambridge: Polity, 1988): 124–6. And Joyce Thompson, ‘From “Diversion” to “Fatal Attraction”: The Transformaton of a Morality Play Into a Hollywood Hit,’ The Journal of Popular Culture, 26(3) (1992): 13. 13 . Siegfried Kracauer, From Caligari to Hitler (Princeton, NJ: Princeton University Press, 1974): 6. 14 . David Riesman has stressed the fact that popular culture and the mass media are produced by and in the interest of society as a whole. He views this as a group process and argues specifically against conspiracy theories of popular culture. See David Riesman, with Nathan Glazer, and Danny Reuel, The Lonely Crowd (New Haven: Yale University Press, 1969). 15 . TW Adorno et al., Aesthetics and Politics (London: Verso, 1980): 123. 16 . TW Adorno, Notes on Literature , vol. II (London: Columbia University Press, 1992): 245. 17 . Ibid. 18 . See Richard Wolin, Walter Benjamin: An Aesthetic of Redepmption (New York: Columbia University Press, 1982): 64. 19 . The essay is included in Walter Benjamin, Illuminations , trans. Harry Zohn (New York: Schocken Books, 2007): 217–51. 20 . Ibid., 221. 21 . John Berger, W ays of Seeing (London: BBC and Penguin Books, 1972): 23. 22 . Benjamin, Illuminations : 257–58. 23 . OK Werckmeister, ‘Walter Benjamin’s Angel of History, or the Transfiguration of the Revolutionary into the Historian,’ Critical Inquiry, 22(2) (1996): 242. 24 . Ibid., 254. 25 . Ibid., 242. 26 . Ibid., 240. I shall not get into any leftist infighting here, and certainly not presume that Utopia has inevitably to be a left-wing project. 27 . Inglis cites Walter Benjamin, Charles Baudelaire: the Lyric Poet in the Era of High Capitalism (1974): 159; Inglis, Media Theory : 176. 28 . Ibid., 177. 29 . Ibid., 178. 30 . Ibid. 31 . Ibid. 32 . Antonio Gramsci, Prison Notebooks, ed. Lawrence D Kritzman, trans. Joseph A Buttigeig and Antonio Callari, 3 vols., European Perspectives (New York: Columbia University Press, 2011). 33 . See Carl Boggs, Gramsci’s Marxism (London: Pluto Press, 1976): 38. 34 . Ibid., 39. 35 . Ibid., 60. 36 . Ibid., 62. 37 . Gramsci, Prison Notebooks , vol. I: 172. 38 . Ibid. 39 . Ibid. 162 Notes

40 . W John Morgan, ‘The Pedagogical Politics of Antonio Gramsci – “Pessimism of the Intellect, Optimism of the Will”,’ International Journal of Lifelong Education, 6(4) (1987): 306. 41 . Peter Ives, ‘Language, Agency and Hegemony: A Gramscian Response to Post- Marxism,’ Critical Review of International Social and Political Philosophy, 8(4) (2005): 461. 42 . Joseph A Buttigieg, ‘Introduction,’ in Antonio Gramsci Prison Notebooks, ed. Joseph A Buttigieg, European Perspectives (New York: Columbia University Press, 1992): 12. See also Buttigeig’s note in Gramsci, Prison Notebooks , vol. 1: 474–5. 43 . Gramsci, Prison Notebooks , vol. I: 474–5. Buttigieg cites Gramsci, ‘Address to the Anarchists,’ in L’Ordine Nuovo , 3–10 April 1920. 44 . Ibid., vol. III: 429. Joseph A Buttigieg 2011, citing Frank Rosengarten’s 1994 edition of the same work by Gramsci, Letters from Prison, trans. R Rosenthal (New York: Columbia University Press, 1994), vol. I: 300, note 1. 45 . For biographical background on Bloch, I acknowledge Vincent Geoghegan, Ernst Bloch (London and New York: Routledge, 1996), and Jack Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination,’ in The Utopian Function of Art and Literature , Studies in Contemporary German Thought (Cambridge, Massachusetts: The MIT Press, 1988). 46 . Geoghegan, Ernst Bloch : 12. 47 . Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination.’ xvi; his own translation of Bloch: Giest der Utopie , German edition, Frankfurt: Suhrkamp, 1964: 217. 48 . Herbert Marcuse, ‘The Realm of Freedom and the Realm of Necessity: a Reconsideration,’ in Praxis , 1969, no. 1: 20, cited in Geoghegan Ernst Bloch : 16. 49 . Geoghegan, Er nst Bloch :16. 50 . David Kaufmann, ‘Thanks for the Memory: Bloch, Benjamin and the Philosophy of History,’ in Not Yet: Reconsidering Ernst Bloch, ed. Jamie Owen Daniel and Tom Moylan (London and New York: Verso, 1997): 33. 51 . Ibid. According to David Kaufman, Bloch and Benjamin were ‘contempo- raries’ and at the same time ‘rather uncomfortable’ friends. 52 . According to Geoghegan (19) he learned none; according to Zipes (xxi) he learned little. 53 . Geoghegan, Ernst Bloch : 19. 54 . Ibid., 20. 55 . Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination’: xxii. 56 . Ibid., xxii. 57 . Geoghegan, Ernst Bloch : 26. 58 . Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination’: 25. 59 . Geoghegan, Ernst Bloch : 26. 60 . Jamie Owen Daniel, ‘Reclaiming the “Terrain of Fantasy”: Speculations Ernst Bloch, Memory, and the Resurgence of Nationalism,’ in Not Yet: Reconsidering Ernst Bloch , ed. Jamie Owen Daniel and Tom Moylan (London and New York: Verso, 1997), 53. 61 . Geoghegan, Ernst Bloch : 2. Notes 163

62 . Ibid., 2. 63 . J Dickinson, ‘Ernst Bloch’s “The Principle of Hope”: A Review of and Comment on the English Translation,’ in Babel, 36(1) (1990): 8, cited in Geoghegan (1996): 2. 64 . Zipes, ‘Notes on the Translation and Acknowledgements’: ix. 65 . Ronald Aronson, ‘Review of The Principle of Hope’. In History and Theory , 30(2) (1991): 233, cited in Geoghegan (1996): 2–3. 66 . Geoghegan (1996): 3 67 . Geoghegan, Ernst Bloch : 44. 68 . Kaufmann, ‘Thanks for the Memory: Bloch, Benjamin and the Philosophy of History,’ 38. 69 . Ibid., 34. 70 . Bloch, The Principle of Hope : 794–838. 71 . Ibid., 813. 72 . Ibid., 339–418. 73 . Ibid., 369. 74 . Geoghegan, Ernst Bloch : 91. 75 . See Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination’: xx. 76 . Bloch, ‘Literature and Socialist Objects,’ speech to the International Congress for the Defense of Culture, Paris, 1935, translated and cited by Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination’: xx. 77 . Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination’: xxxii. 78 . Bloch, “Prinzip Hoffnung” in Gesamtausgabe , vol. 5 (Frankfurt am Main: Suhrkamp, 1977), 980–981, cited and translated in Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination’: xxxix. 79 . See ibid., xxiii. 80 . See ibid., xxxii. 81 . Bloch, ‘Über das noch nicht bewusste Wissen,’ in Die weissen Blätter, 6, 1919: 355, cited and translated by Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination’: xxxii. 82 . Ernst Bloch. On Karl Marx , translated by J Maxwell (New York: Herder & Herder, 1971): 168. Cited in Geoghegan, Ernst Bloch : 40. 83 . See Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination’: xxvii. 84 . Bloch, The Principle of Hope : 1376. 85 . Ernst Bloch, interviewed in 1968 by Michael Landmann and cited in Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination’: 26. 86 . See Geoghegan, Ernst Bloch : 38 and Ruth Levitas, ‘Educated Hope: Ernst Bloch on Abstract and Concrete Utopia,’ in Not Yet: Reconsidering Ernst Bloch, ed. Jamie Owen Daniel and Tom Moylan (London and New York: Verso, 1997): 65. 87 . Levitas, ‘Educated Hope’: 65. 88 . Ibid., 67. 89 . Ibid. 90 . Bloch, The Principle of Hope : 145. 91 . Ibid. 92 . Ibid. 93 . Ibid. 94 . Levitas, ‘Educated Hope’: 72. 164 Notes

95 . Bloch, The Principle of Hope : 209. 96 . Ibid. 97 . Ibid. 98 . See also Levitas, ‘Educated Hope’: 79.

3 Homo Aestheticus

1 . For a discussion of Bloch’s concept of non-synchronous contradictions, see Jack Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination,’ in The Utopian Function of Art and Literature , Studies in Contemporary German Thought (Cambridge, Massachusetts: The MIT Press, 1988): xix and ‘Traces of Hope: The Non-synchronicity of Ernst Bloch,’ in Not Yet: Reconsidering Ernst Bloch , ed. Jamie Owen Daniel and Tom Moylan (London and New York: Verso, 1997): 1–12. 2 . John A Hostetler, Amish Society , fourth ed. (Baltimore: The Johns Hopkins University Press, 1993): 75. 3 . Ibid., 166. 4 . Ibid., 167. 5 . Carleton L Safford and Robert Bishop, America’s Quilts and Coverlets (New York: E.P. Dutton, 1980): 86. 6 . Hostetler, Amish Society : 165–6. 7 . Andrea Fischgrund Stanton, Zapotec Weavers of Teotitlán (Santa Fe: Museum of New Mexico Press, 1999): 31. 8 . Ibid., 43. 9 . Ibid., 55. 10 . Nancy J Blomberg, Navajo Textiles: The William Randolph Hearst Collection (Tucson and London: The University of Arizona Press, 1988; repr., 1994). 11 . For the effect of Enzer on Zapotec weaving culture, see Stanton, Zapotec Weavers of Teotitlán : 56–57. 12 . Bruce Selcraig, ‘Dream Weavers,’ Smithsonian , November 2003: 72. 13 . Ibid., 74. 14 . Roger Fry, Art and Commerce, The Hogarth Essays (London: The Hogarth Press, 1926): 5. 15 . Ibid., 5–6. 16 . Ibid., 6. 17 . Edward O Wilson, The Social Conquest of Earth (London and New York: Liveright, 2012): 278–9. 18 . Ibid., 277. 19 . Ellen Dissanayake, Homo Aestheticus: Where Art Comes From and Why , 1995 ed. (Seattle: University of Washington Press, 1992, 1995): x. 20 . Ibid., xiii. 21 . Ibid., xvi. 22 . Ibid., xix. 23 . Ibid., 60. 24 . Ibid., 1. 25 . Ibid., xix. 26 . Ibid., 132. 27 . Ibid., 165. Notes 165

28 . Ibid., 166. 29 . Ruth Benedict, Patterns of Culture (Boston: Houghton Mifflin, 1934). 30 . Judith S Modell, ‘“It is besides a pleasant English word”: Ruth Benedict’s Concept of Patterns Revisited,’ in Reading Benedict/Reading Mead, ed. Dolores Janiewski and Lois W Banner, New Studies in American Intellectual and Cultural History (Baltimore and London: Johns Hopkins University Press, 2004). Modell’s more recent work is published as Judith Schachter. 31 . Virgina Woolf, The Waves (London: Hogarth Press, 1931). 32 . Modell, ‘“It is besides a pleasant English word”: Ruth Benedict’s Concept of Patterns Revisited’: 214ff. 33 . Ibid., 214. See also Roger Fry, Transformations (London: Chattto and Windus, 1926) and Vision and Design (Harmondsworth: Pelican Books, 1937). I have used and cited the 1937 edition of Vision and Design in this research, although it was first published by Chatto and Windus in 1920. 34 . Modell, ‘“It is besides a pleasant English word”: Ruth Benedict’s Concept of Patterns Revisited’: 215. 35 . Ibid. 36 . Ibid., 216. 37 . Ibid. 38 . Ibid., 217. Modell cites Wilhlem Worringer, Form in Gothic (London: Tiranti, 1927). 39 . Modell, ‘“It is besides a pleasant English word’: Ruth Benedict’s Concept of Patterns Revisited’: 217. 40 . Erwin Panofsky, Studies in Iconology , Icon (New York: Harper & Row, 1972): 7. 41 . See especially Richard Howells, The Myth of the Titanic , second ed. (Basingstoke, Hampshire and New York: Palgrave Macmillan, 2012). 42 . Modell, ‘“It is besides a pleasant English word”: Ruth Benedict’s Concept of Patterns Revisited’: 217. 43 . Ibid., 219. 44 . Ibid., 221. 45 . Ibid., 225. 46 . Ibid., 227. 47 . Ibid., 223. 48 . Ibid., 228. 49 . Ibid. 50 . Ibid., 222. 51 . Fry, Vision and Design : 71. 52 . Ibid. 53 . Ibid., 72. 54 . Ibid., 73. 55 . Ibid. 56 . Ibid., 74. 57 . Ibid., 75. 58 . Ibid. 59 . Ibid. 60 . Arthur I Miller, Colliding Worlds: How Cutting-Edge Science is Redefining Contemporary Art (New York: Norton, 2014). 166 Notes

61 . Arthur I Miller, Einstein, Picasso: Space, Time and the Beauty That Causes Havoc (London: Basic Books, 2001). Miller explains that there have always been connections between art and science, but these connections only took the form of ideas in the first half of the 20th century. It was in the second half of the century that practical engagement between the two began. The redefini- tion of the relationship is a 21st century development. Conversation with Arthur I Miller, London, 10 December 2014. 62 . Ibid., 1. 63 . Ibid., 23–30. 64 . Ibid., 30–1. 65 . Miller here is following Guillaume Apollinaire, who published a study on cubist painters in 1913. 66 . Miller, Einstein, Picasso: Space, Time and the Beauty That Causes Havoc : 47. 67 . Ibid., 58. 68 . Ibid., 85. 69 . Ibid., 89. 70 . Ibid., 99. 71 . Ibid., 94. Miller in in turn cites Herschel Chipp, ed. Theories of Modern Art: A Source Book for Artists and Critics (Berkeley: University of California Press, 1968): 273. 72 . Ibid., Miller: 105–6. 73 . Ibid., 106. 74 . Ibid., 174. 75 . Ibid., 177. 76 . Ibid. 77 . Ibid., 184. 78 . Ibid., 188. 79 . Ibid., 190. 80 . Ibid., 216. 81 . Ibid., 237. 82 . Ibid., 239. 83 . Ibid., 245. 84 . Clive Bell, Ar t (London: Chatto and Windus, 1928): 23. 85 . Ibid., 25. 86 . Fry, Vision and Design : 244. 87 . Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination’: xxviii. 88 . Ernst Bloch, ‘Erbschaft dieser Zeit’: in Gesamtausgabe (Frankfurt am Main: Suhrkamp, 1977): 228. Cited and translated by (Zipes, 1988a: xxix) 89 . Roseann S Willink and Paul G Zolbrod, Weaving a World: Textiles and the Navajo Way of Seeing (Santa Fe: Museum of New Mexico Press, 1996): 2. 90 . Ibid., 48. 91 . Donald Meltzer and Meg Harris Williams, The Apprehension of Beauty (Strath Tay: Clunie Press for the Roland Harris Trust, 1988): xxi.

4 Case Study: Navajo Design, Culture and Theology

1 . Paul G Zolbrod, Din4 Bahane’: The Navajo Creation Story (Albuquerque: University of New Mexico Press, 1984): 25. Notes 167

2 . Nancy J Blomberg, Navajo Textiles: The William Randolph Hearst Collection (Tucson and London: University of Arizona Press, 1988; repr., 1994): 1. 3 . Ibid., 3. 4 . Ibid., 5. 5 . Ibid., 6–8. 6 . Kate Peck Kent, Navajo Weaving: Three Centuries of Change (Santa Fe, New Mexico: School of American Research Press, 1985): 21. 7 . Gladys A Reichard, Navajo Shepherd and Weaver (New York: JJ Augustin, 1936). 8 . Gladys A Reichard, Weaving a Navajo Blanket (New York: Dover Publications, 1974). 9 . Kent, Navajo Weaving: Three Centuries of Change . 10 . Frederick J Dockstader, The Song of the Loom: New Traditions in Navajo Weaving (New York: Hudson Hills with Montclair Art Museum, 1987). 11 . Kent, Navajo Weaving: Three Centuries of Change : 33. 12 . Ibid., 34. 13 . See Reichard, Weaving a Navajo Blanket: 49–68; Dockstader, The Song of the Loom: New Traditions in Navajo Weaving: 28–30; Kent, Navajo Weaving: Three Centuries of Change : 29. For an illustration of a Navajo loom, together with comparative descriptions of tapestry and other techniques, see Ann Sutton, Peter Collingwood, and Gerladine St Aubyn Hubbard, The Craft of the Weaver (London: BBC, 1982). 14 . In other kinds of looms, the finished part of the work is wrapped around a roller, so it cannot be seen in its entirety. 15 . Dockstader, The Song of the Loom: New Traditions in Navajo Weaving : 27. 16 . Ibid., 32.The research was carried out in 1974, but as the traditional method and process has not changed since then, the estimate remains useful. 17 . Kent, Navajo Weaving: Three Centuries of Change : 41–5. 18 . Ibid., 47. 19 . Dockstader, The Song of the Loom: New Traditions in Navajo Weaving : 30. 20 . Kent, Navajo Weaving: Three Centuries of Change : 47. 21 . Roseann S Willink and Paul G Zolbrod, Weaving a World: Textiles and the Navajo Way of Seeing (Santa Fe: Museum of New Mexico Press, 1996): 5. 22 . Ibid., 2. 23 . Ibid., 4. 24 . Ibid., 6. 25 . Ibid., 17. 26 . Ibid., 18. 27 . Ellen Dissanayake, Homo Aestheticus: Where Art Comes From and Why, 1995 ed. (Seattle: University of Washington Press, 1992, 1995): xii. 28 . Gary Witherspoon, Language and Art in the Navajo Universe (Ann Arbor: University of Michigan Press, 1977): 184. 29 . Ibid., 185. 30 . Ibid., 187. Although Witherspoon does not mention it, there are, of course, clear connections with Lévi-Strauss’s theory of the cultural reconciliation of binary oppositions here. 31 . Reichard, Weaving a Navajo Blanket: 15. The book was originally published as Navajo Shepherd and Weaver (New York: JJ Augustin, 1936). 32 . Ibid., 31. 33 . Willink and Zolbrod, Weaving a World: Textiles and the Navajo Way of Seeing: 19. 34 . Ibid., 18–19. 168 Notes

35 . Ibid., 4. 36 . Zolbrod, Din4 Bahane’: The Navajo Creation Story : 93–4. 37 . Ibid., 122. 38 . Ibid., 362. 39 . Ibid., 267. 40 . Willink and Zolbrod, Weaving a World: Textiles and the Navajo Way of Seeing : 5. 41 . Ibid., 30. 42 . The Holy Bible , King James ed. Genesis 2, 17. 43 . Ibid.: Genesis 3, 5. 44 . Ibid.: Genesis 3, 19. 45 . Ibid.: Genesis 3, 7. 46 . Ibid.: Genesis 3, 22. 47 . Jack Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination,’ in The Utopian Function of Art and Literature , Studies in Contemporary German Thought (Cambridge, Massachusetts: MIT Press, 1988): xxvii. 48 . Zolbrod, Din4 Bahane’: The Navajo Creation Story : 365. 49 . Ibid., 362. 50 . Ibid., 363. 51 . Hatcher similarly warns against romantic notions of the ‘primitive.’ See Evelyn Payne Hatcher, Visual Metaphors: A Formal Analysis of Navajo Art , ed. Robert F Spencer, American Ethnological Society (St Paul, MN: West Publishing, 1974): 117. 52 . Ibid., 185. 53 . Hubbell was based in Ganado, Arizona, Moore at Crystal, New Mexico, and Keam at what became known as Keams Canyon, Arizona. Keam also traded with the Hopi. 54 . Kent, Navajo Weaving: Three Centuries of Change : 17. See also Dockstader, The Song of the Loom: New Traditions in Navajo Weaving: 17; Hatcher, Visual Metaphors: A Formal Analysis of Navajo Art: 176–77; Gladys A Reichard, Navajo Medicine Man Sandpaintings (New York Dover, 1977): 1–3. 55 . Kent, Navajo Weaving: Three Centuries of Change : 19. 56 . Hatcher, Visual Metaphors: A Formal Analysis of Navajo Art : 180. 57 . Ibid., 182. 58 . For this reason, Berlant and Kahlenberg focus their study of Navajo textiles on blankets rather than rugs, believing that, as the former were made for Navajo use rather than for sale to the non-Navajo market, they were more authentically Navajo. See Anthony Berlant and Mary Hunt Kahlenberg, Walk in Beauty: The Navajo and Their Blankets (Boston: New York Graphic Society, 1977). 59 . Kent, Navajo Weaving: Three Centuries of Change : 17. 60 . Ibid., 18. 61 . Willink claims that saddle blankets remain an exception as these are still produced primarily for Navajo use. See Willink and Zolbrod, Weaving a World: Textiles and the Navajo Way of Seeing : 80. 62 . Paul G Zolbrod, telephone interview, 21 March 2004. 63 . Kent, Navajo Weaving: Three Centuries of Change : 3. 64 . Ibid., 111. 65 . Gladys A Reichard, Navajo Medicine Man (New York: JJ Augustin, 1939). Republished in 1977 as Navajo Medicine Man Sandpaintings . Notes 169

66 . Hatcher calls them ‘drypaintings’. See Hatcher, Visual Metaphors: A Formal Analysis of Navajo Art . 67 . Reichard, Navajo Medicine Man Sandpaintings : ix–x. 68 . Ibid., 6. 69 . Ibid. 70 . Ibid. Reichard, to be more precise, calls it a mixture of his ‘honesty and rationalization’, but it seems to me that it was much heavier on the latter. Muguelito and the Navajo, surely, are not alone in this, however. 71 . Kent, Navajo Weaving: Three Centuries of Change : 92. 72 . Ibid., 93. 73 . Reichard, Weaving a Navajo Blanket : 154. 74 . Ibid., 156. 75 . Kent, Navajo Weaving: Three Centuries of Change : 111. 76 . EH Gombrich, The Story of Art , sixteenth ed. (London: Phaidon, 1995). 77 . Kent, Navajo Weaving: Three Centuries of Change : 108. 78 . Ibid., 3. 79 . Ibid., 2. 80 . Willink and Zolbrod, Weaving a World: Textiles and the Navajo Way of Seeing : 23. 81 . Dockstader, The Song of the Loom: New Traditions in Navajo Weaving : 17. 82 . Hatcher, Visual Metaphors: A Formal Analysis of Navajo Art : 177. 83 . Ibid. 84 . Ibid. Hatcher cites George Mills Navajo Art and Culture (Colorado Springs: Taylor Museum, 1959): 63. 85 . Zolbrod. 86 . Witherspoon, Language and Art in the Navajo Universe : 163. 87 . Reichard dates the positive role of traders and Anglo enthusiasts in estab- lishing Navajo weaving as part of the creative industries back to the 1920s. See Reichard, Weaving a Navajo Blanket : 1–3. 88 . Kent, Navajo Weaving: Three Centuries of Change : 32. 89 . Dockstader, The Song of the Loom: New Traditions in Navajo Weaving : 19. 90 . Ibid., 17. 91 . Kent, Navajo Weaving: Three Centuries of Change: 21. Zolbrod, however, has observed that contrary to tradition, some Navajo men are also beginning to weave. In the pueblos, by contrast, weaving is a male activity. 92 . United States Census, ‘American Indian and Alaskan Native Summary File,’ (US Census Bureau, 2000). Matrices PCT 142, 144, 147, 150, 151, 152, 153. 93 . Dockstader, The Song of the Loom: New Traditions in Navajo Weaving : 31. 94 . Kent, Navajo Weaving: Three Centuries of Change: 104. The exception is a few of the most exceptional ‘named’ weavers who are still able to command top prices for high-end work from collectors. 95 . Ibid., 21. 96 . Dockstader, The Song of the Loom: New Traditions in Navajo Weaving : 32. 97 . Reichard, Navajo Shepherd and Weaver: 187. Also cited in Kent, Navajo Weaving: Three Centuries of Change : 21. 98 . Pierre Bourdieu, Distinction , trans. Richard Nice (London: Routledge, 2010). 99 . Pierre Bourdieu, The Field of Cultural Production (Cambridge: Polity, 1993): 54. I further discuss Bourdieu in broader context in Richard Howells and Joaquim Negreiros, Visual Culture , second ed. (Cambridge: Polity, 2012). 170 Notes

100 . Hatcher, Visual Metaphors: A Formal Analysis of Navajo Art . 101 . Ibid., 21. 102 . Ibid., 15. 103 . Ibid., 59–60. 104 . Ibid., 74. 105 . Ibid., 121–8. 106 . Ibid., 133. Graduations of colour are, of course, more difficult to achieve in weaving than they are in painting, but they are by no means impos- sible. See, for example, Ann Sutton and Diane Sheehan, Ideas in Weaving (Loveland, Colorado: Intervweave Press, 1989): 75 ff. 107 . I am grateful to Ann Sutton for explaining to me some of the design conse- quences of weft-faced weaving on a vertical loom, including angularity and so-called lazy lines on larger pieces. 108 . Hatcher, Visual Metaphors: A Formal Analysis of Navajo Art : 137–44. 109 . Ibid., 143. 110 . Hatcher misleadingly subtitles her book, A Formal Analysis of Navajo Art . Her analysis is actually much more content than form-based. 111 . Hatcher, Visual Metaphors: A Formal Analysis of Navajo Art : 168. 112 . Ibid., 173. 113 . See especially her chapter ‘The Search for a Navajo Aesthetic,’ in Kent, Navajo Weaving: Three Centuries of Change : 107 ff. 114 . Ibid., 107. 115 . Ibid., 108. 116 . Ibid., 109. 117 . Mary Hunt Kahlenberg and Anthony Berlant, The Navajo Blanket (New York: Praeger, 1972): 16–17. Cited in Kent, Navajo Weaving: Three Centuries of Change : 110. 118 . Hatcher, Visual Metaphors: A Formal Analysis of Navajo Art: 179–80. Cited in Kent, Navajo Weaving: Three Centuries of Change : 110. 119 . Willink and Zolbrod, Weaving a World: Textiles and the Navajo Way of Seeing : 2. 120 . Ibid., xiii. 121 . Reichard, Navajo Medicine Man Sandpaintings : 14. 122 . Hatcher, Visual Metaphors: A Formal Analysis of Navajo Art : vii. 123 . Ibid., 27 and 173. 124 . Dockstader, The Song of the Loom: New Traditions in Navajo Weaving: 21. 125 . Kent, Navajo Weaving: Three Centuries of Change : 111. 126 . Ibid., 114. 127 . Reichard, Weaving a Navajo Blanket : 178. 128 . Ibid. Reichard does not rule out symbolism in sand painting, however. 129 . Kent, Navajo Weaving: Three Centuries of Change : 111. 130 . See also Berlant and Kahlenberg, Walk in Beauty: The Navajo and Their Blankets: 146. 131 . Ibid. 132 . Ibid. 133 . Ibid., 146–7. 134 . Ibid., 146. I am aware that among non-specialists, the terms ‘unconscious’ and ‘subconscious’ are often used interchangeably and inaccurately, but at this stage of the discussion, it would not be helpful to become too discursive about the distinctions, as the overall point is still made. Notes 171

135 . Willink and Zolbrod, Weaving a World: Textiles and the Navajo Way of Seeing : 74. 136 . Ibid. 137 . Ibid., 33. 138 . Hatcher, Visual Metaphors: A Formal Analysis of Navajo Art : 60. 139 . Ibid., 217.

5 Archetypes, the Unconscious, and Psychoanalysis

1 . Peter Gay, Freud (New York: Anchor Books, 1989): 128. 2 . Freud’s complete works remain in press today as Sigmund Freud, The Complete Psychological Works of Sigmund Freud, 24 vols. (London: Vintage, 2001). The Interpretation of Dreams was first published in 1900 and comprises volumes four and five of the complete works; The Psychopathology of Everyday Life followed in 1901 and comprises the sixth volume. 3 . Gay, Freud : 104. 4 . See, for example, Peter Gay’s section on ‘Mapping the Mind,’ in Freud : 335–42. 5 . Ibid., 127. 6 . Ibid., 367. 7 . Ibid., 128. 8 . Ibid., 412. 9 . Ibid., 453. 10 . Sigmund Freud, An Autobiographical Study, vol. 20, Standard Edition (London: Hogarth Press, 1925): 17. 11 . While much of the summary of psychoanalytical terms here is not conten- tious and is widely recognised in the field, I do acknowledge the work of Alan A Stone in summarising the basic concepts, especially Freud’s. For Freud, I particularly acknowledge the work of Peter Gay, notably, Freud . 12 . Here I invoke, in spirit if not in detail, the work of Claude Lévi-Strauss, and especially his The Raw and the Cooked (published in French in 1964 as Le Cru et le cuit). See Claude Lévi-Strauss, The Raw and the Cooked (New York: Harper, 1969). 13 . See Richard Howells, The Myth of the Titanic , second ed. (Basingstoke, Hampshire and New York: Palgrave Macmillan, 2012). Here I also argue for the importance of understanding the related concept of ‘social amnesia’ (see especially 186–8). 14 . Gay, Freud : 322. 15 . Ibid. 16 . Ibid., 323. 17 . Ibid., 129. 18 . This is a concept I also discuss in Howells, The Myth of the Titanic: 94. The aphorism is often attributed to Leo Löwenthal and subsequently used by others of the Frankfurt School. See Leo Löwenthal, Critical Theory and Frankfurt Theorists , Communication in Society (New Bunswick, NJ: Transaction Pubishers, 1989): 51. For subsequent use, see, for example, Patrick Brantlinger, Bread and Circuses: Theories of Mass Culture as Social Decay (Ithaca and London: Cornell University Press, 1983): 172. Bratlinger in turn cites Martin Jay, The Dialectical Imagination (Boston: Little Brown, 1973): 173. Jay uses the quotation as an epigraph. 172 Notes

19 . See the translators’ introduction to Ernst Bloch, The Principle of Hope, trans. Neville Plaice, Stephen Plaice, and Paul Knight, 3 vols. (Oxford: Blackwell, 1986): xxix. The translators admit that there may be a contributing transla- tion problem from Freud’s German into English. 20 . Ibid., 45–50. 21 . Ibid., 51–7. 22 . Ibid., 53. 23 . Ibid., 51. 24 . Ibid., 54. 25 . Ibid. 26 . Ibid., 55. 27 . Ibid. 28 . Ibid., 52. 29 . Ibid., 53. 30 . Ibid., 56. 31 . Ibid., 56–7. 32 . Ibid., 57. 33 . Ibid., 54. The translators note Bloch’s implied reference to Freud’s Civilisation and its Discontents, originally published in German in 1930. For an English translation, see volume 21 of Freud, The Complete Psychological Works of Sigmund Freud . 34 . Bloch, The Principle of Hope : 56. 35 . Ibid. 36 . Ibid. 37 . Ibid. 38 . Roseann S Willink and Paul G Zolbrod, Weaving a World: Textiles and the Navajo Way of Seeing (Santa Fe: Museum of New Mexico Press, 1996): 74. 39 . Ibid. 40 . Anthony Berlant and Mary Hunt Kahlenberg, Walk in Beauty: The Navajo and Their Blankets (Boston: New York Graphic Society, 1977): 146. 41 . Gladys A Reichard, Weaving a Navajo Blanket (New York: Dover Publications, 1974): 156. 42 . Paul G Zolbrod, telephone interview, 21 March 2004. 43 . Freud, An Autobiographical Study , 20: 17. 44 . Berlant and Kahlenberg, Walk in Beauty: The Navajo and Their Blankets : 16–17. 45 . Evelyn Payne Hatcher, Visual Metaphors: A Formal Analysis of Navajo Art , ed. Robert F Spencer, American Ethnological Society (St Paul, MN: West Publishing, 1974): 179–80. 46 . Cited in Robert Aziz, C.G. Jung’s Psychology of Religion and Synchronicity (Albany, NY: State University of New York Press, 1990): 38. 47 . See, for example, Richard P Sugg ed. Jungian Literary Criticsm (Evanston, Illinois: Northwestern University Press, 1992; reprint, second paperback). 48 . CG Jung, The Archetypes and the Collective Unconscious, ed. Herbert Read, et al., trans. RFC Hull, second ed., vol. 9, part 1, The Collected Works of C.G. Jung (London: Routledge and Kegan Paul, 1968). 49 . Ibid., 135 and 380, and figures 45 and 46. 50 . Ibid., 5. 51 . Ibid., 4. Notes 173

52 . Ibid., 7. 53 . Ibid., 23. 54 . Ibid., 22. 55 . Ibid., 23. 56 . Ibid. Marx similarly noted in Capital : ‘They do not know it, but they are doing it.’ Cited in Slavoj Žižek, The Sublime Object of Ideology , ed. Ernesto Laclau and Chantal Mouffe, Phronesis (London and New York: Verso, 1989): 28. 57 . Jung, The Archetypes and the Collective Unconscious, 9, part 1: 48. 58 . Ibid., 47. The vexed question of Jung’s alleged sympathy for Nazism will be discussed later. 59 . Ibid., 269. 60 . Ibid., 41. 61 . Ibid., 38. 62 . Ibid., 33. 63 . Ibid., 41. 64 . Ibid., 267. 65 . Ibid., 6. 66 . For more on my own thinking about the applicability of theories of myth to contemporary cultures, see Richard Howells, The Myth of the Titanic (London and New York: The Macmillan Press and St Martin’s Press, 1999), especially chapter 2. 67 . Jung, The Archetypes and the Collective Unconscious, 9, part 1: 267–8. 68 . Ibid., 268. 69 . Ibid. 70 . Ibid., 272. 71 . Ibid., 42. 72 . Ibid., 42ff. 73 . Ibid., 42. 74 . Ibid., 43. 75 . Ibid. 76 . Ibid., 44. 77 . Ibid., 264. 78 . Ibid., 255–72. Jung seems unaware that in Navajo mythology, the Coyote and the Trickster are much the same thing. 79 . Ibid., 262. 80 . Ibid., 264. 81 . Ibid., 271. 82 . Ibid., 272. 83 . John Bebe, ‘The Trickster in the Arts,’ in Jungian Literary Theory, ed. Richard P Sugg (Evanston, Illinois: Northwestern University Press, 1992; reprint, second paperback): 302–11. 84 . Ibid., 303. 85 . Ibid., 304. 86 . Ibid., 306. 87 . Ibid. 88 . Ibid., 307. 89 . Ibid., 308. Dallas was a popular, long-running American primetime televi- sion series that aired on the CBS network from 1978 to 1991. It was sold and syndicated throughout the world. 174 Notes

90 . Ibid., 311. 91 . Lewis Hyde, Trickster Makes This World (Edinburgh: Canongate, 2008): 3ff. 92 . Ibid., 7. 93 . Ibid. 94 . Ibid., 9. 95 . Jung, The Archetypes and the Collective Unconscious, 9, part 1: 256–60. 96 . Ibid., 256. 97 . Bloch, The Principle of Hope : 56. 98 . Ibid., 59. 99 . That Bloch thought Jung ‘complicit’ with fascism is certainly the opinion of the translators of the Oxford edition. See Bloch, The Principle of Hope : xxix. 100 . Bloch, Heritage of Our Times, ed. Martin Jay and Anton Kaes, trans. Neville Plaice and Stephen Plaice, Weimar Now: German Cultural Criticism (Berkeley and Los Angeles: University of California Press, 1991): 313. 101 . See, for example, Wayne Hudson, The Marxist Philosophy of Ernst Bloch (London: Macmillan, 1982). Hudson sees Bloch as a leading anti-fascist. See especially page 11. See also Vincent Geoghegan, Ernst Bloch (London and New York: Routledge, 1996), especially chapter 4. 102 . Geoghegan, ‘Remembering the Future,’ in Not Yet: Reconsidering Ernst Bloch , ed. Jamie Owen Daniel and Tom Moylan (London and New York: Verso, 1997): 20. 103 . Jung, The Archetypes and the Collective Unconscious, 9, part 1: 47. 104 . Ibid., 48. It is possible to suspect that Jung may have backtracked on the real extent of his interest in fascism. The translators of this section of his work on the collective unconscious do state that ‘The present version has been slightly revised by the author’ (42). This section was originally given as a lecture in 1936, and the translators were commenting on their 1968 second edition. 105 . Bloch, The Principle of Hope : xxix. 106 . Jack Zipes, ‘Introduction: Toward a Realization of Anticipatory Illumination,’ in The Utopian Function of Art and Literature, Studies in Contemporary German Thought (Cambridge, Massachusetts: MIT Press, 1988): xviii. 107 . Geoghegan, Ernst Bloch : 6. 108 . Ivan Boldyrev, Ernst Bloch and His Contemporaries: Locating Utopian Messianism , Bloomsbury Studies in Continental Philosophy (London and New York: Bloomsbury Academic, 2014): 118. 109 . Bloch, The Principle of Hope : 56. 110 . Ibid. 111 . Ibid., 59. 112 . Ernst Bloch, Literary Essays, trans. Andrew Joron, Meridean Crossing Aesthetics (Palo Atlo, California: University of Stanford Press, 1998): 403. This is taken from part seven of the collection: Estrangements II (Geographica), and the section titled ‘On Images of Nature Since the End of the Nineteenth Century’: 397–409. 113 . Bloch, The Principle of Hope : 60. 114 . Ibid. 115 . Ibid. 116 . Ibid., 61. Notes 175

117 . Ibid. 118 . Exceptions include a brief reference in Jan Relf, ‘Utopia the Good Breast: Coming Home to Mother,’ in Utopias and the Millennium, ed. Krishan Kumar and Stephen Bann, Critical Views (London: Reaktion Books, 1993). See also occasional references in Frederic Jameson, Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions (London and New York: Verso, 2007). 119 . See Jameson, Archaeologies of the Future: 191–2. 120 . Unusually for a living scholar, Žižek has a journal dedicated entirely to the study of his own work: the International Journal of Žižek Studies , ISSN 1751–8229. 121 . Elizabeth Wright and Edmund Wright, eds, The Žižek Reader, Blackwell Readers (Malden, MA and London: Blackwell, 1999): 1. 122 . Ibid., 2. 123 . Žižek in the 1998 preface to Wright and Wright, The Žižek Reader : 10. 124 . Slavoj Žižek, Enjoy Your Sympton! second ed. (New York and London: Routledge Classics, 2001): xxiii. 125 . Wright and Wright, The Žižek Reader : 9. 126 . Žižek, Enjoy Your Sympton! : xiv. 127 . Žižek, How to Read Lacan (London: Granta, 2006): 1. 128 . Nick Crossley called it ‘a convenient fiction’. See Nick Crossley, Key Concepts in Critical Social Theory (London: Sage, 2005): 192. 129 . Žižek, How to Read Lacan : 2. 130 . Ibid., 3. 131 . Ibid., 5. 132 . Slavoj Žižek, Looking Awry: An Introduction to Jacques Lacan Through Popular Culture , ed. Rosalind Krauss Joan Copec, Annette Michelson, October Books (Cambridge, MA: MIT Press 1992): vii. 133 . TS Eliot, Notes Towards the Definition of Culture (London: Faber and Faber, 1948). 134 . Žižek, Enjoy Your Sympton! : ix. 135 . Ibid., x. 136 . Slavoj Žižek, ed. Everything You Always Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock) (London and New York: Verso, 1992): 126. 137 . Žižek, Enjoy Your Sympton! : xiii. 138 . Žižek, Looking Awry : ix. 139 . Wright and Wright, The Žižek Reader: 3. More fully, see Žižek, The Sublime Object of Ideology : 194. 140 . Žižek, Enjoy Your Sympton! : xii. 141 . Nor was my The Myth of the Titanic primarily about the Titanic . Howells, The Myth of the Titanic . Žižek also uses the Titanic as a recurring example. See Žižek, The Sublime Object of Ideology: 69ff. and Wright and Wright, The Žižek Reader , vii. 142 . Donald Meltzer and Meg Harris Williams, The Apprehension of Beauty (Strath Tay: Clunie Press for the Roland Harris Trust, 1988): xi–xii. 143 . Ibid., xii. 144 . Ibid., xiii. 145 . Ibid. 176 Notes

6 Roger Fry and the Language of Form

1 . Roger Fry, The Artist and Psycho-analysis, ed. Leonard and Virginia Woolf, The Hogarth Essays (London: Hogarth Press, 1924). 2 . Denys Sutton, ed. The Letters of Roger Fry, 2 vols., vol. 1 (London: Chatto and Windus, 1972): 1. 3 . Richard Shone, The Art of Bloomsbury (Princeton: Princeton University Press, 1999): 12. 4 . Nicholas Serota, ‘Foreword’, in The Art of Bloomsbury , ed. Richard Shone (Princeton, New Jersey: Princeton University Press, 1999): 7. 5 . Shone, The Art of Bloomsbury : 22. 6 . Christopher Green, ‘The Picassos of British Criticism’, in Picasso and Modern British Art, ed. James Beechey and Chris Stephens (London: Tate Publishing, 2012): 20. 7 . James Beechey, ‘Picasso in Britain 1910–1914’, in Picasso and Modern British Art , ed. James Beechey and Chris Stephens (London: Tate Publishing, 2012): 53. 8 . Ibid. 9 . Helen Little, ‘Bloomsbury Beginnings: Picasso and Modern British Art’, Canvas , April 2012: 6. 10 . Christopher Reed, ‘Introduction’, in Beyond Bloomsbury: Designs of the Omega Workshops 1913–19, ed. Alexandra Gerstein (London: The Courtauld Gallery/ Fontanka, 2009): 13. 11 . Shone, The Art of Bloomsbury : 138. 12 . Reed, ‘Introduction’: 11. 13 . Ibid., 12. 14 . Quentin Bell in ‘The Omega Revisited,’ in The Listener , January 30, 1964: 201ff, cited by Denys Sutton, ed. The Letters of Roger Fry , 2 vols., vol. 1 (London: Chatto and Windus, 1972): 53. 15 . See, for example, Richard Shone, Bloomsbury Portraits (London: Phaidon, 1993): 91. Richard Shone, The Art of Bloomsbury : 137. 16 . For more on Fry in both breadth and detail see, for example, Quentin Bell, Roger Fry (Leeds: University of Leeds Press, 1964); Christopher Green, ed. Art Made Modern: Roger Fry’s Vision of Art (London: Merrell Holberton/The Courtauld Gallery, 1999); Christopher Reed, ed. A Roger Fry Reader (Chicago: University of Chicago Press, 1996); Frances Spalding, Roger Fry: Art and Life (London: Paul Elek/Granada, 1980); Virginia Woolf, Roger Fry: A Biography (Harmondsworth: Peregrine Books, 1979); Shone, Bloomsbury Portraits . 17 . Richard Cork, ‘From “Art-Quake” to “Pure Visual Music”,’ in Art Made Modern , Christopher Green, ed. (London: Merell Holberton and The Courtauld Gallery, 1999): 59. 18 . Ibid., 61. For a perspective of the exhibition 100 years on, see the centenary edition of The Burlington Magazine including the editorial (779) and Anna Gruetzner Robins, ‘“Manet and the Post-Impressionists”: A Checklist of Exhibits’, The Burlington Magazine, CLII, no. 1293 (2010). 19 . Shone, Bloomsbury Portraits : 59. 20 . Ibid. 21 . Sutton, The Letters of Roger Fry : 1. 22 . Ibid., 41. Notes 177

23 . Although most famously published in Fry’s collection Vision and Design in 1920, this then-radical essay had first appeared in the New Quarterly in 1909. For the later and more accessible version, see Roger Fry, Vision and Design (Harmondsworth: Pelican Books, 1937): 22–40. 24 . Sutton, The Letters of Roger Fry : 35. 25 . Green, Art Made Modern: Roger Fry’s Vision of Art : 9. 26 . Sutton, The Letters of Roger Fry : 1. 27 . Fry, The Artist and Psycho-analysis : 3. 28 . Ibid. 29 . Ibid. 30 . Ibid., 4. 31 . Ibid., 5. It should be stressed that Fry himself is not actively citing Bloch or Jung here; the connection is mine. 32 . Ibid., 7. 33 . Ibid., 7–8. 34 . Ibid., 9. 35 . Ibid., 7. 36 . Ibid., 9. 37 . Ibid., 10. 38 . That was at least Fry’s understanding of Freud in this matter. 39 . Fry, The Artist and Psycho-analysis : 10–11. 40 . Ibid., 12. 41 . Ibid. 42 . Ibid. 43 . Ibid., 13. 44 . Virginia Woolf, A Room of One’s Own (Harmondsworth: Penguin Classics, 2002). A Room of One’s Own was first published in 1929. 45 . Virginia Woolf, Mr. Bennett and Mrs. Brown , ed. Leonard and Virginia Woolf, vol. 1924, The Hogarth Essays (London: The Hogarth Press, 1924). The essay was first given as a paper to the Heretics Society at Cambridge in May that year. 46 . Ibid., 13. Bennett had published his acclaimed Riceyman Steps in 1923. See Arnold Bennett, Riceyman Steps (London: Cassell, 1923). 47 . Pierre Bourdieu, The Field of Cultural Production (Cambridge: Polity, 1993). See especially chapter one: ‘The Economic World Reversed’: 29–73. 48 . Fry, The Artist and Psycho-analysis : 11. 49 . Fry, Vision and Design : 235. 50 . Clive Bell, Art (London: Chatto and Windus, 1928): 23 and 25. 51 . Fry, The Artist and Psycho-analysis : 13. 52 . Ibid. 53 . Ibid. 54 . Presumably Oskar Pfister, Swiss psychoanalyst and clergyman (1873–1956). 55 . Fry, The Artist and Psycho-analysis : 15. 56 . Ibid. 57 . Ibid., 16. 58 . Ibid., 17. 59 . Ibid., 16. 60 . Ibid., 15. 61 . Ibid., 18. 178 Notes

62 . Ibid., 19. 63 . Ibid. 64 . Ibid. 65 . Ibid. 66 . Ibid., 19–20. 67 . Ibid., 20. 68 . Fry, Vision and Design : 244. 69 . See Fry’s introduction to Joshua Reynolds, Discourses with Introductions and Notes by Roger Fry, ed. Roger Fry (London: Seeley and Company, 1905): x. It is from this quotation that Rubin draws her monograph title: Adrianne Rubin, Roger Fry’s ‘Difficult and Uncertain Science’ , ed. JB Bullen, Cultural Interactions (Bern: Peter Lang, 2013). 70 . Rubin, Roger Fry’s ‘Difficult and Uncertain Science’ : 173. 71 . Ibid., 142. 72 . Fry, Last Lectures , 33, cited in Rubin: 164. 73 . See Rubin, Roger Fry’s ‘Difficult and Uncertain Science’: 172. As a caveat, Rubin speculates that Fry may not have been aware of the technical distinctions between the unconscious and the subconscious. See Rubin, Roger Fry’s ‘Difficult and Uncertain Science’: 179 (n). To be fair, Fry was not alone in failing to distinguish between the unconscious and the subconscoius. 74 . Kenneth Clarke continued to believe that subject matter was of primary importance in fine art; Herbert Read followed the Jungian idea that symbolism reflects the universality of the unconscious. See Rubin, Roger Fry’s ‘Difficult and Uncertain Science’: 211–18. 75 . Vision and Design was later published in revised form in 1925. My references are to the posthumous Pelican edition of Vision and Design (1937). 76 . Fry died in 1934 while much of Bloch’s most important work was published in the years that followed. 77 . Fry, Vision and Design : 23. 78 . Ibid., 24. 79 . Ibid., 26. 80 . Ibid., 27–8. 81 . HG Wells, ed. Socialism and the Great State (New York and London Harper, 1912). 82 . Roger Fry, ‘The Artist in the Great State’, in Socialism and the Great State, ed. HG Wells (New York and London: Harper, 1912). 83 . Ibid., 251. 84 . Ibid., 252. 85 . Ibid., 254. 86 . Fry uses the term ‘patine’ as a noun. 87 . Fry, ‘The Artist in the Great State’: 255–6. 88 . Ibid., 253. 89 . Pierre Bourdieu, Distinction , trans. Richard Nice (London: Routledge, 2010). 90 . Fry, ‘The Artist in the Great State’: 262–6. 91 . Ibid., 268. For Sandel, see especially Michael J Sandel, What Money Can’t Buy: The Moral Limits Of Markets (Harmondsworth: Penguin, 2012). 92 . Fry, ‘The Artist in the Great State’: 257. 93. Ibid., 253. 94 . Ibid., 252. 95 . Ibid., 253. Notes 179

96 . Ibid., 257. 97 . Ibid. 98 . Ibid., 258. 99 . Ibid. 100 . Ibid., 259. 101 . Ibid., 260–1. 102 . Ibid., 263. 103 . Ibid., 251. 104 . Ibid., 271. 105 . Ibid. 106 . Ibid., 272. 107 . Fry, Vision and Design : 36. 108 . Ibid., 36–7. 109 . Ibid., 28. 110 . Ibid., 29. 111 . Ibid. 112 . Ibid., 34. 113 . Claude Lévi-Strauss, ‘The The Story of Asdiwal,’ in The Structural Study of Myth and Totemism , ed. Edmund Leach (London: Tavistock, 1967): 21. 114 . Walter Benjamin, The Origin of German Tragic Drama, trans. John Osborne (London: NLB, 1977). 115 . Fry, Vision and Design : 31. 116 . Ernst Bloch, The Utopian Function of Art and Literature , ed. Thomas McCarthy, trans. Jack Zipes and Frank Mecklenburg, Studies in Contemporary German Thought (Cambridge, Massachusetts: The MIT Press, 1988): 208. 117 . This article was reproduced in Fry, Vision and Design : 76–87. 118 . Ibid., 87–91. 119 . Ibid., 90. 120 . Ibid., 91–9. 121 . Ibid., 95. 122 . Sutton, The Letters of Roger Fry , 87. 123 . Roger Fry, Last Lectures (Cambridge: Cambridge University Press, 1939): 86. 124 . Ibid., 75. 125 . Ibid. 126 . Ibid., 95. 127 . Ibid., 75. 128 . Fry, Vision and Design : 244.

7 From Genesis to Job

1 . Don Cupitt, What Is a Story? (London: SCM Press, 1991): ix. 2 . Richard Howells, The Myth of the Titanic, second ed. (Basingstoke, Hampshire and New York: Palgrave Macmillan, 2012). 3 . Ernst Bloch, Atheism in Christianity, trans. JT Swann (London and New York: Verso, 2009). 4 . See Vincent Geoghegan, Ernst Bloch (London and New York: Routledge, 1996): 82. Wayne Hudson, The Marxist Philosophy of Ernst Bloch (London: Macmillan, 1982): 18. 5 . Geoghegan, Ernst Bloch : 82. 180 Notes

6 . Geoghegan saw Bloch’s project as the ‘Promethean Bible’. See Ernst Bloch: 86. 7 . Tom Moylan, ‘Bloch against Bloch: The Theological Reception of Das Prinzip Hoffnung and the Liberation of the Utopian Function,’ in Not Yet: Reconsidering Ernst Bloch, ed. Jamie Owen Daniel and Tom Moylan (London and New York: Verso, 1997): 98. 8 . Ibid. 9 . Hudson, The Marxist Philosophy of Ernst Bloch : 185. 10 . Ibid., 186 and Moylan ‘Bloch against Bloch: The Theological Reception of Das Prinzip Hoffnung and the Liberation of the Utopian Function’: 98. 11 . I am aware that some people prefer the use of the gender-neutral ‘human- kind’ to ‘man’, but as Bloch was writing from 1918 onwards, I will maintain his usage where relevant. Bloch certainly intended his references to ‘man’ and ‘mankind’ to include people of all genders. 12 . Peter Thompson, ‘Ernst Bloch and the Quantum Mechanics of Hope,’ in Atheism in Christianity (London and New York: Verso, 2009). 13 . Bloch, Atheism in Christianity : 1. 14 . Ibid., 3. 15 . Ibid., 5. 16 . Ibid., 6–7. 17 . Ibid., 7. 18 . Ibid. 19 . Ibid., 8. 20 . Ibid., 9. 21 . Ibid., 10. 22 . Ibid., 11. 23 . Ibid., 13. 24 . Ibid., 11 and 12. 25 . Ibid., 13. 26 . Ibid. 27 . Ibid., 14–15. 28 . Ibid., 17. 29 . Ibid., 17–18. 30 . Ibid., 19. 31 . Ibid. 32 . Ibid., 20. 33 . Ibid. 34 . Ibid. 35 . Ibid., 21. 36 . Ibid. 37 . Ibid., 22. 38 . See Howells, The Myth of the Titanic , especially chapter seven, ‘Nearer my God to Thee’: 202–28. 39 . Bloch, Atheism in Christianity : 23–4. 40 . Ibid., 21. 41 . Ibid., 24 ff. 42 . Ibid., 26. 43 . Ibid., 24. 44 . See Bloch, The Principle of Hope, trans. Neville Plaice, Stephen Plaice, and Paul Knight, 3 vols. (Oxford: Blackwell, 1986). Especially volume one, part Notes 181

three generally and section 27, ‘Better Castles in the Air in Fair and Circus, in Fairytale and Colportage’ specifically: 352–69. 45 . Bloch, Atheism in Christianity : 25. 46 . Ibid., Geertz would surely agree. 47 . Ibid., 26. 48 . Ibid., 27. 49 . Ibid., 28. 50 . Ibid., 39. 51 . Ibid., 40. 52 . Ibid. 53 . Roland Barthes, Mythologies , trans. Annette Lavers (New York: Noonday Press, 1972): 11. 54 . John Berger, Ways of Seeing (London: BBC and Penguin Books, 1972): 33. 55 . Bloch, Atheism in Christianity : 42. 56 . Ibid., 43. 57 . Ibid., 44. 58 . Ibid., 46. 59 . Ibid., 47. 60 . Ibid., 48. 61 . Ibid. 62 . Ibid., 49. 63 . Ibid. 64 . Ibid., 53–4. 65 . Ibid., 50. 66 . Ibid., 51. 67 . Ibid., 57. 68 . Ibid., 58. 69 . Ibid., 59. 70 . Ibid., 61. 71 . Ibid. 72 . Ibid., 62. 73 . Ibid., 63. I am grateful to Rebecca Hughes for her help with the translation here as, typically, Bloch does not provide one himself. This is especially frus- trating in cases such as this, when the literal translation from the Latin is not automatically sufficient to convey Bloch’s intended meaning. 74 . Ibid. 75 . Ibid., 63 ff. 76 . Ibid., 66. 77 . Ibid., 67. 78 . Ibid. 79 . Ibid., 69. 80 . Ibid. 81 . Ibid., 70. 82 . Ibid., 71. 83 . Ibid., 72–3. 84 . Ibid., 73. 85 . Ibid., 76ff. 86 . Ibid., 81. 87 . Ibid., 82. 182 Notes

88 . Ibid., 82–3. 89 . Ibid., 84. 90 . Ibid., 86. 91 . Ibid., 89. 92 . Ibid., 90. 93 . Ibid., 92. 94 . Ibid. 95 . Ibid., 94. 96 . Ibid., 95. 97 . Ibid., 96ff. 98 . Stewart Lee and Richard Herring, ‘Matthew’ in ‘Sunday Heroes’ from This Morning with Richard but Not Judy , second series, BBC2 Television, 21 March–13 June 1999. 99 . Bloch, Atheism in Christianity : 96. 100 . Ibid. 101 . Ibid., 99. 102 . Robert Warshow, ‘The Gangster as Tragic Hero,’ in The Immediate Experience (New York: Doubleday, 1962): 130. 103 . Ibid. 104 . Ibid., 131. 105 . Bloch, Atheism in Christianity : 101. 106 . Ibid. 107 . Ibid., 102. 108 . Ibid., 104. 109 . Ibid. 110 . Ibid., 106. 111 . Ibid., 107. 112 . Ibid., 108.

8 Homo Absconditus

1 . Ernst Bloch, Atheism in Christianity, trans. JT Swann (London and New York: Verso, 2009): 109. 2 . Ibid., 110. 3 . Ibid. 4 . Ibid., 111. 5 . Ibid. 6 . Ibid., 113. 7 . Ibid., 115. 8 . Ibid., 116. 9 . Ibid., 122. 10 . Ibid., 122 ff. 11 . Ibid., 123. 12 . Ibid., 124. 13 . Ibid. 14 . Ibid., 125. 15 . Ibid., 126. 16 . Ibid., 129. Notes 183

17 . Ibid. 18 . Ibid., 130. 19 . Ibid., 131. 20 . Ibid. 21 . Ibid., 138–9. 22 . Ibid., 140. 23 . Ibid. 24 . Ibid., 144. 25 . Ibid., 145. 26 . Ibid., 147. 27 . Ibid. 28 . Ibid. 29 . Ibid., 149. 30 . Ibid., 150. 31 . Ibid., 151. 32 . Ibid., 152–3. 33 . Ibid., 153. 34 . Ibid., 154. The emphasis is Bloch’s, and his Latin is a reference to Saint Anselm. 35 . Ibid. 36 . Ibid., 155. 37 . Ibid., 156. 38 . Ibid., 158. Similarly, in my study of the Titanic disaster, I show how a triumph was manufactured out of the tragedy of a poorly equipped ship hitting an iceberg and drowning 1500 people. See Richard Howells, The Myth of the Titanic, second ed. (Basingstoke, Hampshire and New York: Palgrave Macmillan, 2012). 39 . Bloch, Atheism in Christianity : 156. 40 . Claude Lévi-Strauss, ‘The Structural Study of Myth,’ in Structural Anthropology (London: Allen Lane, 1968): 229. 41 . Bloch, Atheism in Christianity : 157. 42 . Ibid., 158. 43 . Ibid. 44 . Ibid. 45 . James George Frazer, The Golden Bough , Oxford World’s Classics (Oxford: Oxford University Press, 2009). Jessie L Weston, From Ritual to Romance (Princeton, NJ: Princeton University Press, 1993). TS Eliot, The Waste Land and Other Poems (London: Faber & Faber, 2002). 46 . Bloch, Atheism in Christianity : 159–60. 47 . Ibid., 160. 48 . Ibid., 161. 49 . Ibid., 163. 50 . Ibid., 163–4. 51 . Ibid., 165. 52 . Ibid., 166. 53 . Ibid. 54 . Ibid., 167. 55 . Clifford Geertz, The Interpretation of Cultures (New York: Basic Books, 1973): 5. 56 . Bloch, Atheism in Christianity : 169. 184 Notes

57 . Ibid. 58 . JK Rowling, Harry Potter and the Philosopher’s Stone (London: Bloomsbury, 1997): 91. 59 . While these themes permeate the whole seven-book series, they can all be seen (for useful reference) in JK Rowling, Harry Potter and the Chamber of Secrets (London: Bloomsbury, 1998): chapters 17 and 18. Here we have Potter, a serpent, an heir to Slytherin, Voldemort, and further references to Harry Potter having almost been placed into Slytherin House. 60 . JK Rowling, Harry Potter and the Deathly Hallows (London: Bloomsbury, 2007). 61 . Bloch, Atheism in Christianity : 169. 62 . Ibid. 63 . Ibid., 171. 64 . Ibid., 172. 65 . Ibid. 66 . Ibid., 173. 67 . Ibid., 173–4. 68 . Ibid., 175. 69 . Ibid., 177. 70 . Ibid. 71 . Ibid., 178. 72 . Ibid., 178–9. 73 . Ibid., 181. 74 . Ibid., 183. 75 . Ibid., 183–6. 76 . Ibid., 190. 77 . Ibid. 78 . Ibid., 192. 79 . Ibid., 193. 80 . Ibid., The central work here is Feuerbach’s The Essence of Christianity , 1841. 81 . Ibid., 196. 82 . Ibid., 198. 83 . Ibid., 199. 84 . Ibid., 200. 85 . Ibid. 86. Ibid. 87 . Ibid., 201. 88 . Ibid., 203. 89 . Ibid., 206. 90 . Bloch here quotes himself from The Principle of Hope: ‘In the way there comes into the world something which casts light into every childhood, somewhere where no one yet has been: it is called Home’ (206). 91 . Ibid. 92 . Ibid., 208. 93 . Ibid., 213. 94 . Ibid. 95 . Ibid., 212ff. 96 . Ibid., 215. 97 . Ibid., 216. 98 . Ibid., 220. 99 . Ibid., 222. Notes 185

100 . Ibid., 225. 101 . Ibid. 102 . Ibid., 226. 103 . Ibid. 104 . Ibid., 228. 105 . Ibid. 106 . Ibid., 229. 107 . Ibid., 230. 108 . Ibid., 231. 109 . Ibid., 233. 110 . Ibid., 233–4. 111 . Ibid., 235. 112 . Ibid., 236. 113 . Ibid., 237. 114 . Ibid., 239. 115 . Ibid., 241. 116 . Ibid., 242. 117 . Ibid. 118 . Ibid., 242ff. 119 . Ibid., 245. 120 . Ibid., 248. 121 . Ibid. 122 . Ibid. 123 . Ibid., 249. 124 . Ibid., 250. 125 . Ibid. 126 . Ibid. 127 . Ibid., 251. 128 . Ibid. 129 . Ibid., 253. 130 . Ibid. 131 . Ibid., 254. 132 . Ibid., 256. 133 . Ibid. 134 . Ibid., 257. 135 . Richard Dawkins, The God Delusion (London: Bantam, 2006). 136 . Peter Thompson, ‘Ernst Bloch and the Quantum Mechanics of Hope,’ in Atheism in Christianity (London and New York: Verso, 2009): ix. 137 . Dawkins, The God Delusion : ix. 138 . Cited in Thompson, ‘Ernst Bloch and the Quantum Mechanics of Hope’: x. 139 . Ibid., xiv. 140 . Ibid. 141 . Ibid., xv. 142 . Ibid. 143 . Ibid., xxiii. 144 . Ibid., xxiv. 145 . Ibid., xxv. 146 . Ibid., xxviii. Some readers may also recognise this as the title of a 1981 song by the English singer-songwriter Clifford T. Ward (1944–2001). It rewards listening. 186 Notes

9 Conclusion: The Republic of Heaven

1 . Philip Pullman, The Amber Spyglass (London: Point/Scholastic Children’s Books, 2001): 431. 2 . Ibid., 432. 3 . Pullman, ‘The Republic of Heaven,’ The Horn Book Magazine, November/ December 2001. 4 . Ibid. 5 . Pullman further confirmed in an interview at the National Theatre that when the Authority dies in The Amber Spyglass, he is effectively a dying symbol. See the interview with the author, Olivier Theatre, 9 January 2004 in Robert Butler, ed. Darkness Illuminated (London: National Theatre and Oberon Books 2004): 48–65, 57. 6 . Ibid., 57. 7 . In Pullman’s trilogy, Pantalaimon is a ‘dæmon’: a friendly animal companion that everyone has and in whose personality they are mutually reflected. It is not to be confused with a demon. The dæmons of children can take any number of changing animal forms, but finally fix on the approach of adult- hood. In Lyra’s case, her dæmon Pantalaimon eventually takes the fixed form of a pine marten. This is a brief explanation for interest’s sake; it does not directly affect the concept of the republic of heaven. 8 . Philip Pulllman, The Amber Spyglass (London: Point/Scholastic Children’s Books, 2001): 548. 9 . ‘The X-Files’ was a long-running (1993–2002) US television drama. 10 . Pullman, ‘The Republic of Heaven.’ 11 . The punctuation is as in the original. 12 . Pullman, ‘The Republic of Heaven.’ 13 . Ibid. 14 . Philip Pullman in conversation with Rowan Williams, then-Archbishop of Canterbury, Olivier Theatre, London, 15 March 2004, as transcribed and moderated by Butler in Butler, Darkness Illuminated , 93. 15 . Cited in Nicholas Tucker, Darkness Visible (Cambridge: Wizard Books 2003): 124. 16 . Ibid., 126. 17 . Ibid., 129. 18 . Ibid., 128. 19 . Ibid. 20 . Butler, Darkness Illuminated , 89. 21 . Ibid., 121. 22 . Ibid., 160. 23 . Pullman, ‘The Republic of Heaven.’ 24 . Ibid. 25 . Ibid. 26 . Ibid. 27 . Ibid. 28 . JK Rowling’s Harry Potter series is another example of this. Although her greatest literary strength is not in character or dialogue, she certainly knows how to tell stories – and stories which contain ideas with moral force. Notes 187

29 . Hugh Rayment-Pickard, The Devil’s Account (London: Darton, Longman and Todd, 2004): 3. 30 . Ibid., 4. 31 . Ibid., 23. Rayment-Pickard cites an interview of Pullman by Susan Roberts for Christian Aid, 2000. No further details given. 32 . Ibid., 48. 33 . Ibid., 79. 34 . Ibid., 89. 35 . Ibid., 18. Rayment-Pickard Pickard cites ‘Author Pullman finds it impossible to believe’, an interview with Philip Pullman in the Capital Times by Heather Lee Schroeder, October 2000. The Capital Times is a Madison, Wisconsin newspaper, now available only on the Internet. This particular article is no longer available. 36 . My last point deliberately alludes to the work of Don Cupitt, especially What Is a Story? (London: SCM Press, 1991). 37 . Tucker, Darkness Visible : 174. 38 . Pullman, ‘The Republic of Heaven.’ 39. Ibid. 40 . Ibid. 41 . See Ernst Bloch, Traces , trans. Anthony A Nassar, Meridian Crossing Aesthetics (Stanford, CA: Stanford University Press, 2006). See also Jack Zipes, ‘Traces of Hope: The Non-synchronicity of Ernst Bloch,’ in Not Yet: Reconsidering Ernst Bloch , ed. Jamie Owen Daniel and Tom Moylan (London and New York: Verso, 1997). The original German version of Traces was titled Spuren . 42 . Tucker, Darkness Visible : 275. 43 . Ernst Bloch, Atheism in Christianity, trans. JT Swann (New York: Herder and Herder, 1972): 182–3. 44 . This was also the title of his one-man show at the Stafford Shire Hall Gallery, 13 November 2010–9 January 2011. 45 . Ernst Bloch, The Spirit of Utopia , trans. Anthony A Nassar, Meridian: Crossing Aesthetics (Palo Alto, California: Stanford University Press, 2000): 18. 46 . Ibid., 15. 47 . Ibid., 17. 48 . Ibid., 15. 49 . Ibid., 19. 50 . Clifford Geertz, The Interpretation of Cultures (New York: Basic Books, 1973): 5. 51 . Bloch, The Spirit of Utopia : 1.

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Index

Abraham, 3, 69 ‘primitive’, 57, 80, 106, 114 Abrahamic culture, 6, 69 and science, 53–7, 166 n. 61 Adam and Eve, 6, 69, 116, 120, 151 secular, 79 Adorno, T. W., 26, 29–31, 36, 89, 11, ascension, 137 112, 153 astro-myth, 140 see also Frankfurt School atheism, 3–4, 24, 117–18, 123, 126, aesthetic(s), 1–2, 4–5, 21, 39, 43, 127, 130, 133, 142–3, 146–7, 49–57, 60, 65, 67, 72–5, 77–8, 149, 152–4 91, 100–1, 103–7, 109–15, atheistic Christianity, 3, 118, 137–8, 155 141, 143, 144–5, 153–4 emotion, 104–5, 108–9, 110, 113 see also Bloch, Ernst (Atheism in see also Fry, Roger Christianity) value, 2, 27, 40, 44, 75 autonomy, 33, 51, 70, 73 aggression, 41, 91 alchemy, 20 Babel, Tower of, 139 amnesia, social, 171 n. 13 Barthes, Roland, 35, 122 see also memory Bell, Clive, 57, 102–3, 107 Anabaptists, 45 Benedict, Ruth, 50–2 anachronism, 45 Benjamin, Walter, 31–3, 34, 36, 38, angel (s), 31, 91 99, 113 of history, the, 31 Berger, John, 31, 35, 122 Anschauung, 55–6 Berlin Wall, The, 22, 28, 37 anthropocentrism, 3, 117, 133, 137–8, Bible, Holy, 116–17, 118–29, 141, 154 134–6, 140, 141, 144, anthropology, 50–1, 79, 141 152, 153 apocalyptic, 24, 133–4 Exodus, Book and concept of, 118, Apollinaire, Guillaume, 166 n. 65 126, 127, 128, 131–2, 134, archetypes, 3, 82, 91–3, 95–7, 100, 139–40 101, 119, 140 Genesis, Book of, 3, 6, 69, 120–1, aristocracy, 111–12 126, 138 art, 1–3, 31, 40–1, 49–58, 60, 66, 70, Job, Book of, 128–30, 131, 135 73, 75–81, 84, 87, 89–90, 94, King James version of, 153 96, 101–15, 116, 154–5 paradoxes within, 120–1, 124, 129, abstract, 80, 82, 101 153 avant-garde, 44, 80, 103 paupers’ Bible, 126 cubist, 103 Proverbs, Book of, 128–9 figurative/non-figurative, 4, 44, 57, redactions of, 124 77, 80, 90, 100, 101, 107, Revelations, Book of, 120, 122, 155 121, 142 Old Master, 110, 114 underground, 125–6 post-impressionist, 80, 103, 107–8, bioevolutionary anthropology, 49 114 blasphemy, 139

197 198 Index

Bloch, Ernst, 1–4, 9, 24–7, 29, 33–43, Atheism in Christianity, 3, 117–18, 50, 52–3, 58, 69, 86–91, 94, 121–3, 126–7, 131, 138, 140, 95–100, 104–5, 109, 110, 113, 145–7, 154 117–30, 131–47, 152–5 ‘Can Hope Be Disappointed?’, 38, impenetrability of, 36, 38–9, 118 159 n. 100 life of, 35–8 Heritage of Our Times, 36, 96 terms and concepts Literary Essays, 97 Ahnung, 41 The Principle of Hope, 9, 24, 37, 38, anticipatory illumination, 40, 100 40–1, 42, 88, 95–7, 117–18, aufrechter gang, 41, 50, 100 121, 135 see also upright gait ‘The Production of Ornament’, darkness of the lived or 154 immediately experienced The Spirit of Utopia, 4, 35 moment, 41, 114, 142 Traces, 187 n. 41 Deus absconditus (hidden God), The Utopian Function of Art and 122, 127 Literature, 114 Deus revelatus (God revealed), 122 Bloomsbury Group, 50–3, 101–3, docta spes, 42 106–7 see also educated hope boundaries, 23, 25, 57, 88 Heimat, 41, 135 Bourdieu, Pierre, 75–6, 106, 111–12 see also home (homeland) The Field of Cultural Production, 106 Homo absconditus (hidden man), bourgeois, 36, 88, 105–7, 143 122, 144 see also bourgeoisie noch-nicht-bewusst (not-yet- bourgeoisie, 96 conscious), 40–1, 88, 89 noch-nicht-geworden (not-yet- Cabbala, The, 133 become), 40 Camberwick Green, 32 non-synchronous contradiction, Campanella, Tommaso, 7 45, 164 n. 1 capital (types of), 75, 111 ‘Not-yet’, 144 see also Bourdieu, Pierre ‘on high’, 124, 127, 130, 133–5, capitalism, 22, 26, 27–8, 29–30, 44 137, 138 celibacy, 12, 17 preserved meanings, 39 Center for the Arts in Society, 157 n. 31 ‘Real possible’, the, 42 Chigley (TV programme), 32 slave-talk, 118–19 Chipp, Herschel, 166 n. 71 spuren (traces), 154 Christ, Jesus, 11, 12, 18, 20, 122–3, see also Traces 125, 128, 131–40, 144, 147 uberschuss (overshoot), 39, 99 second coming of, 11, 12, 20, 137–8 Umfunktionierung (reutilization), as son of God, 133 58 as son of Man, 133–4, 137, 140, ‘Up there’, 119 141, 142, 144 Vor-Schein (anticipatory class struggle, 145 illumination), 40, 100 Collingwood, Peter, 167 n. 13 werk-bildend (work-forming), 41 Common Prayer, Book of, 153 ‘where from’, 141 conscious (-ness), 41, 80, 82–3, 84–5, ‘where to’, 141 87, 88, 89–90, 93, 95, 97, 98, wishful images, 1, 40, 97, 105 101, 109, 145 wishful landscapes, 39 collective, 82 works see also subconscious; unconscious Index 199 conservative, 25, 46, 107 drives, 2, 3, 52, 84, 86–7, 88, 89, 90, Coyote, 67–9, 91, 94–5, 100, 173 n. 78 99 see also Ma’ii; trickster drypainting, 169 n. 66 creation mythology, 4, 39, 60, 69 see also Navajo sand painting see also Din4 Bahane’, dystopia, 8, 23, 45 creativity, 1–5, 26, 50, 53–8, 60, 68–9, 75, 79, 84, 86, 94–5, 98–101, Economie, Pennsylvania, 15, 18 116, 138, 154–5 Eden, Garden of, 3, 6, 12, critical legal studies movement, 125 69, 121 critical theory, 9, 29, 34–5, 113 educated hope, 2, 4, 42–3, of creativity, 4, 79, 99, 101, 138 97, 110, 113 Utopian, 2, 9, 53, 82, 100, 116, 117, ego, 86, 88 141, 142, 153–4 Einstein, Albert, 54–7 crucifixion/cross, the, 125, 132, Eliot, T.S., 99, 136 135–6, 139, 144 enantiodromia, 94, 100, 107 Crystal, New Mexico, 168 n. 53 Enlightenment, 97, 143, 147 cubism, 54–7, 108 eschatology, 123, 131–2, 141–2 Cui Bono?, 25, 124–5, 127 ethnography, 2 cult, 134, 136, 138 ‘eutopia’, 22 ‘Culture Industry: Enlightenment as evolutionary biology, 2 Mass Deception, The’, 29 Ewing, J.R., 95 Cupitt, Don, 116, 179 n. 1, 187 n. 36 fairy tales, 83, 119, 121 Dallas (TV programme), 95, 173 n. 89 fall, the, 116, 121, 129, 139, 149, 150, DDR, see Deutsche Demokratische 151 Republik fascism, 95–7, 174 nn. 99, deception, 29–30, 123, 124 101, 104 democracy, 98 film noir, 99 Demoiselles d’Avignon, Les form (Picasso), 56 essential, concept of, 57 design, 1–5, 43, 44, 47–8, 50, 51, 52, pure, 105, 113, 114 101–4, 107, 110, 113, 114, versus content, 2–3, 77, 101, 116, 155 104–5, 107–8, 110, 113, Navajo, see Navajo textile design 114, 115 desire, 26, 27, 42, 52, 83–4, 85, 86, 88, see also Fry, Roger 99, 113 fourth dimension, 56 Deutsche Demokratische Republik Frankfurt School, 30–1, 33, 35–6, 89, (DDR), 37 105 Devlin, Henry, 53 Freud, Sigmund, 28, 83–92, 97–8, 104, Din4 Bahane’, 3, 67–8, 69, 91, 94, 116 105, 106, 107, 113 Dionysus, 97, 136 ‘forepleasure’, 87 Disney (company), 29 The Interpretation of Dreams, 83, Dissanayake, Ellen, 49–50, 66 171 n. 2 Dockstader, Frederick J., 64–5, 73, intrapsychic conflict/tension, 86, 75, 79 90, 91 Donald Duck, 29 primary and secondary processes, dreams (dreaming), 22, 24, 25, 32, 40, 86 83, 85–6, 87, 88, 89–90, 97, structural model, 86 98, 105, 107, 113 topographic model, 84–5, 86 200 Index

Fry, Roger, 3, 49, 50, 51, 52–4, 57, harmony and harmonization, 32–3, 101–15, 116, 156 n. 5 52, 58, 66, 67, 70, 78–9, 91 aesthetic emotion, 104–5, 108–9, Harmony Society, The, see Harmonie 110, 113 Society, The emotional elements of design, 113 Harry Potter series, 138–9, 184 n. 59, imaginative versus actual life, 110, 186 n. 28 113–14 Gryffindor, 139 ‘impure’ art, 105, 108 Nagini, 138 psychoanalysis, attitude to, 101, Parceltongue, 138 105, 106–8, 109–10, 113 Slytherin, 139, 184 n. 59 works Voldemort, Lord, 138–9, 184 n. 59 Art and Commerce, 156 n. 5 Harvard University, 37, 125 The Artist and Psychoanalysis, 106, Hatcher, Evelyn Payne, 168 n. 51, 108 169 n. 66 ‘The Artist in the Great State’, heaven, 3–4, 123, 124, 131, 134, 137, 111 139, 141, 142, 145, 154 ‘Essay in Aesthetics’, 104 republic of heaven, the, 4, 149–51, Last Lectures, 178 n. 72 152–3, 154 The Letters of Roger Fry, 176 n. 14 see also Pullman, Philip ‘Retrospect’, 109, 110, 115 hegemony, 22, 28, 33, 34 Transformations, 51 heredity, 93, 96 Vision and Design, 51, 53 heresy, 129, 142 hermeneutics, 4–5, 9, 27, 118–19, 124, Ganado, Arizona, 168 n. 53 129, 138 Garden of Eden, the, 6, 153 Holocaust, 66 Geertz, Clifford, 5, 50, 138, 155 home (homeland), 41, 135, 140, 142 gender theory, 8–9 homo aestheticus, 50, 57, 155 see also Ní Dhúill, Caitríona Horkheimer, Max, 29–31, 34, 89, 111 Geoghegan, Vincent, 38, 40, 96, 117, see also Frankfurt School 146 Howells, Richard Gnosticism, 138, 140, 150 ‘Looking for Utopia: Creation, God, 3, 6, 41, 69–70, 82, 116, 117, Creativity and a Utopian 120–1, 122, 126–30, 131–4, Theory of Design’, vii 136–8, 139–41, 142, 144–6, The Myth of the Titanic, 121, 148–50, 151, 153 171 nn. 13, 18, 173 n. 66, death of, 55, 136, 138, 145, 148, 175 n. 141, 183 n. 38 151–2 ‘Sorting the Sheep from the Sheep’, see also Yahweh 5 Grafton Galleries, 102, 103, 107 Visual Culture, 169 n. 99 Grail, Holy, 147 h0zh=, 2, 58, 68–9, 91, 94, 99, Gramsci, Antonio, 33–5 100, 155 gratification, 85–6 Hughes, Rebecca, 181 n. 73 Guernica (Picasso), 102 iconology, 52, 80 hardship, 66 id, 86, 88 Harmonie, Pennsylvania, 10, 11, identity, 9, 46, 61, 78, 146 12–13 imagination, 2, 21, 25, 41, 54, 55, 58, Harmonie Society, The (Harmonists), 89, 93, 96, 121 10–15, 17–18, 20 imperfection, 3, 68–9 Index 201

Inglis, Fred, 30, 32–3, 145 n. 12 memory, 66, 83, 87 Institute for Social Research, collective, 66 Columbia, 37 mythic, 66 intent, 3, 80, 90, 92, 100, 103 Messiah, 132–3, 136 intentional communities, 27, 44 metaphor, 4, 27, 44, 50, 52, 58, 98, interdisciplinarity, 5 100 militant optimism, 143 Jefferson, Thomas, 15 millenniumism/ millenarianism, 11, Job, prophet, 128–30, 131, 135 21–2, 28 Jung, C.G., 91–7, 99, 104, 107 Miller, Arthur I., 54–7, 166 n. 61 archetypes, 91–3, 95, 96, 97, 119, Miller, Mark Crispin, 30 136 Modell, Judith S., 50–3, 165 n. 30 Archetypes and the Unconscious, 91–2 Modernism, 103–4 Bloch’s criticisms of, 95–7, 99, 119, More, Sir Thomas, 2, 6, 10, 17, 20, 174 nn. 99, 104 22, 23 collective unconscious, 3, 91–2, 93, mysticism, 3, 58, 109, 140–1 96–7, 113 myth, 3–4, 93, 94–5, 116, 120–3, 126, 136–8, 140–1, 142, 146, 147, Keams Canyon, Arizona, 168 n. 53 150, 151, 152, 173 n. 66 Kent, Kate Peck, 64, 65, 70, 71, 72, 73, ascension, 137 75, 78, 79 astro-, 140 Kyrios-Christos, 134 creation, 3, 4, 60, 66–9 Hellenic, 120, 122 Lacan, Jacques, 97–9 Lévi-Strauss’ theory of, 113 jouissance, 98, 99 mythical thinking, 93 ‘mirror phase’, 97 vegetation, 122–3, 126, latency/latent content, 40, 99, 113 136–7, 140 Lévi-Strauss, Claude, 113, 167 n. 30, 171 n. 12 Narnia, Chronicles of (book series), 152 Levitas, Ruth, 26–7, 42 narrative, 4, 69, 116–17, 129, 136, libido, 86, 108 139, 150, 151 Long Walk, The, 66 National Theatre, 149, 186 n. 5 Navajo Ma’ii, 67–8, 69, 91, 94, 100, 155 aesthetics, 39, 50, 65–6, 67–8, 76–9, see also Coyote; trickster 80, 91, 99 McCann, Graham, 161 n. 12 adaptability and pragmatics of, 66, ‘making better’, 2 70–1, 72–4 ‘making special’, 2 culture, 2–3, 50, 58–9, 60, 65–6, Marcion, 139–40 67–70, 77–9, 82, 90–1, 93–5 market economics, 28 ‘medicine man’, 71 Martyrs Mirror, the, 10 psychoanalytical approach (to Marxism, 23, 28, 30–1, 33–7, 40, 42, understanding of Navajo 96, 98, 112, 122–4, 145–6 design), 80, 82, 89–91, 92, cold and warm streams within, 42–3 93–5, 99, 100 and religion, 117, 122, 123–4 religion, 2–3, 65–6, 67–9, 71–2, vulgar, 117, 123, 146 94–5, 99, 100 meaning/meaningless, 4, 25, 39, 52, ritual, including chants, 71 77, 79, 80, 92, 95, 98, 101, sacrilege and taboo, 72 144, 155 sand painting, 71–2, 76–7, 92 202 Index

Navajo – continued of the will, 33–5, 42 style, distinctive features of, 61, 70, see also pessimism of the intellect 71, 72, 73, 76–7 order/disorder, 50, 52, 58, 65–6, textiles (diyogi) 67–70, 78, 94, 108, 155 aesthetics, paradoxical nature of, Orpheus, 140 52, 78, 91 ‘outopia’, 22 chronology/periods, 60–1, 64, 65, 70, 74, 77 paganism, 134, 136, 140 colours, 60–1, 64, 65, 77 painting, 1, 39, 73, 102, 103, 105, design, 2, 48, 52, 67–8, 70, 72, 107–8, 112, 122 73–4, 76–9, 80, 90, 91, 93–4, see also Navajo sand painting 95, 99, 100 parousia, 137–8 economy of, 61, 70–1, 74–6 pattern, 46, 50–1, 52–3, 66, 77, 78, landscape, 80 79, 107 market and commercial aspects, Paul, Saint, 125, 133, 134, 135–7, 138, 60, 61, 70–1, 72–6 144, 147 materials, 58–9, 61, 64–5, 66–7, perspective, 73, 76, 77, 80 72–3, 74 pessimism, 22, 23 techniques, 61, 64–5, 66–7, 70, of the intellect, 33–5, 42 72–3, 74, 76–7, 167 n. 13 Pfister, Oskar, 107 traders, influence of, 73–4, 78 phenomenal versus noumenal, 82 tradition/innovation, 48, 58, Picasso, Pablo, 54–5, 56, 102, 107 60–1, 64–5, 70, 73–4 Plato, 1, 41, 50 water, necessity of, 64, 66–7 plutocracy, 111–12 yei, 71, 72, 77, 90 Poincaré, Henri, 55, 56 Nazism, 25, 53, 173 n. 58 popular culture, 1, 2, 4, 29–31, 35, 40, Negreiros, Joaquim, 169 n. 99 87, 99, 121, 129, 138, 154, New Harmony, Indiana, 13, 14–15, 161 n.14 18, 20 positivism, 23, 55 New Lanark, Scotland, 13, 158 n. 49 prayer, 10, 72, 80, 90, 133 New Testament, 4, 95, 117, 118, 121, preconscious, 84–5, 86, 88, 89, 90, 97 125–6, 131, 135 primeval, 95, 97 Ní Dhúill, Caitríona, 8–9, 157 n. 21 Prometheus, 120, 122, 123, 126, 127, Nietzsche, Friedrich Wilhelm, 55 131, 138, 180 n. 6 Promised Land, 127 object of desire, 85 Prophets, 20, 127, 136 Occupy movement, 28 Protestantism, 12 Oedipus complex, 86, 88 provocative exaggeration, 30, 79, 143 Old Testament, 3–4, 6, 69, 117, 126, psychoanalysis, 82, 83–9, 91–2, 128, 129, 131, 135, 136, 139 97–100, 101, 104, 105, 107–9, Omega Workshops, 102–3 110, 113, 115, 116 ontology, 9, 20 in reverse, 87 Ophites, the, 138, 139 Pullman, Philip, 4, 148–54 opium (of the masses), 119, 123–4 Amber Spyglass, The, 148, 149, opposition, dynamic, 68, 69 186 n. 5 optimism Belacqua, Lyra, 148, 149, 151, militant, see militant optimism 186 n. 7 as self-deception, 23 ‘His Dark Materials’ trilogy, 148, tragic, see tragic optimism 151, 153, 154 Index 203

Pullman, Philip – continued Stafford Shire Hall Gallery, 187 n. 44 Pantalaimon, 149, 186 n. 7 Stalin, Joseph, 36, 37 Subtle Knife, The, 156 n. 9 Stoicism, 140 subconscious, 80, 82–3, 84, 90, 109, quilts, 44, 46–7 170 n. 134, 178 n. 73 compare unconscious Rapp, Johann Georg, 10–11, 12–13, subject matter, 3, 52, 54, 101, 104, 15, 17–18, 20 105, 107, 108, 113, 114, Rawls, John, 21 178 n. 74 Rayment-Pickard, Hugh, 152–3, subjectivity, 83, 98 187 n. 35 sublimation, 89 Realism, 57, 77 superego, 86 reflexivity, 83, 84 Sutton, Ann, 167 n. 13, 170 nn. 106–7 refunctioning, 38, 117 swastika, 92, 96 Reichard, Gladys A., 64–7, 71–2, 75, symbolism, 79–80, 92, 105, 107, 78–9, 70 109 relativity, theory of, 56–7 symmetry, 67, 76, 77, 78, 155 religion, 3, 12, 18, 20, 24, 91, 116, 117, 119–20, 123–4, 125–6, taxonomy, 2 140–1, 146–7, 153, 154, 155 of modes of hoping, 7, 21, 158 n. 50 death of, 143, 145, 148–51 teleology, 2, 21, 26, 113, 141, 154 fundamentalist, 151 tendency, 40, 78, 98 Navajo, see Navajo religion tested hope, 143 repression, 85, 86, 87–8, 97–8 textiles, see Navajo textiles resurrection, 121, 135–7, 138, 139, theology, 69, 82, 117, 121, 123, 125, 144, 147 133, 135–6, 144 Navajo, 59, 67, 90–1 sacrifice, 127, 136 Thompson, Peter, 3, 118, 146–7 St Aubyn Hubbard, Geraldine, 167 n. 13 time Sargisson, Lucy, 24–6 historical, 67 Satan, 35, 129, 143 mythic, 67 Schachter, Judith, 165 n. 30 and space, 23, 55, 77, 81, 94, 108, science fiction, 22, 99, 150 114 semi-conscious, 40 Titanic, RMS, 183 n. 38 Sermon on the Mount, 131, 132 Torah, The, 6, 69 serpent figure, 69, 120–1, 125, 126, totalitarianism, 25 131, 138–9 tragic optimism, 94, 121, 133 in popular culture, 138–9 transgression, 25 Seventh Day Baptist Church, 10 trickster, 67–8, 91, 94–5, 100, 107, sex/sexuality, 7–9, 20, 25, 69, 83, 85, 173 n. 78 86–7, 88, 91, 151 see also Coyote; Ma’ii rejection of, 12, 20 Trumpton (TV programme), 32 sheep, Churro, 5, 47, 60, 64 Tucker, Nicholas, 151, 154 Sistine Chapel, 155 Socialism, 37, 112 unconscious, 3, 57, 80, 82–8, 89–92, sociology, 8, 26, 33, 49 93, 95, 97–8, 99, 100, 101, cultural, 87, 111 108, 109, 113, 170 n. 134, Sophia, The Virgin, 12 178 nn. 73–4 soul, 93, 142 compare subconscious 204 Index upright gait, 41, 50, 69, 100, 132, 135, wish-myth of resurrection, 144 138, 144–5 Woof, Virginia, 51, 101, 106 utilitarian theory, 49 World Trade Centre, 22 utility, 2, 4, 45–7, 49, 66, 77, 93–4, World War One, 52, 53 153, 154–5 economic, 44, 70, 72–3, 74–6, 111 X-Files, The (TV drama), 150 symbolic, 75–6, 111 Utopia Yahweh, 126–7, 128, 129, 134, 139 abstract, 42–3 see also God anti utopianism, 22, 25, 26, 42 concrete, 42–3, 117, 143, 146 Zamyatin, Yevgeni, 8, 23 as a derogatory term, 1, 21–2 We, 8 human-centered, 20, 117, 126, 133, Zapotec weaving, 2, 47–9, 76, 137, 142, 154 164 n. 11 literary/imaginary, 2, 6–9, 20–1, 23, Zipes, Jack, 37–8, 58, 96 26, 40 Žižek, Slavoj, 98–9, 175 n. 120 lived, 2, 9, 17, 20, 21, 25, 27 ideologiekritik, 99 as method, 26–7 ideology, sublime object of, 99 as a process, 1–2, 20, 27 symptomal reading, 99 ‘universal Singular’, 99 visual culture, 1, 70, 71, 78, 80, 91, works 104, 115 Everything You Always Wanted to Know About Lacan (But Were Ward, Clifford T., 185 n. 146 Afraid to Ask), 175 n. 136 wave/particle debate, 56, 57, 147 How to Read Lacan, 175 nn. 127, weaving, 47–8, 58, 60–1, 64–7, 71, 129 72–80, 90, 91, 154 Looking Awry: An Introduction to Webb, Darren, 7, 21 Jacques Lacan Through Popular Williams, Rowan, 150, 152, 186 n. 14 Culture, 175 n. 132 Willink, Roseann S., 59, 65, 66, 67, 78, Zolbrod, Paul G., 58, 59, 65–6, 67, 168 n. 61 68–9, 71, 73, 78, 80, 90, wish fulfilment, 105, 135 169 n. 91