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UNIVERSITY of CALIFORNIA, SAN DIEGO Revolutionary UNIVERSITY OF CALIFORNIA, SAN DIEGO Revolutionary Constellations: Seeing Revolution Beyond the Dominant Frames A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Literature by Niall Ivan Twohig Committee in charge: Professor Page duBois, Co-Chair Professor Luis Martín-Cabrera, Co-Chair Professor Patrick Anderson Professor John D. Blanco Professor Dennis Childs 2016 The Dissertation of Niall Ivan Twohig is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Co-Chair University of California, San Diego 2016 iii DEDICATION For Lianne, Mollie, Luis, Page, Da, Ma, Jeff and Jay— you pointed the way iv EPIGRAPH Historicism contents itself with establishing a causal nexus of various moments of history. But no state of affairs is, as a cause, already a historical one. It becomes this, posthumously, through eventualities which may be separated from it by millennia. The historian who starts from this, ceases to permit the consequences of eventualities to run through the fingers like the beads of a rosary. He records the constellation in which his own epoch comes into contact with that of an earlier one. He thereby establishes a concept of the present as that of the here-and-now, in which splinters of messianic time are shot through. Walter Benjamin A monument does not commemorate or celebrate something that happened but confides to the ear of the future the persistent sensations that embody the event: the constantly renewed suffering of men and women, their re-created protestations, their constantly resumed struggle. Will this all be in vain because suffering is eternal, and revolutions do not survive their victory? But the success of a revolution resides only in itself, precisely in the vibrations, clinches, the openings it gave to men and women at the moment of its making and that composes in itself a monument that is always in the process of becoming, like those tumuli each new traveler adds a stone. Deleuze and Guattari v TABLE OF CONTENTS Signature Page………………………………………………………………... iii Dedication…………………………………………………………………..... iv Epigraph……………………………………………………………………… v Table of Contents…………………………………………………………….. vi List of Figures………………………………………………………………... vii Acknowledgements…………………………………………………………... ix Vita…………………………………………………………………………… xii Abstract of the Dissertation…………………………………………………... xiii Introduction…………………………………………………………………… 1 CHAPTER 1. Through Fleeting Time………………………………………... 23 Part I. Cracks in the Space-Time of Liberal Capitalist Empire………. 26 Part II. Red Carnation Blossoming…………………………………… 45 Part III. The Re-Emergence of Revolutionary Space and Time……… 75 CHAPTER 2. Beyond The Horror Story of History………………………….. 88 Part I. History of Violence……………………………………………. 94 Part II. Cultural Forgetting……………………………………………. 106 Part III. Cultural Remembrance………………………………………. 117 CHAPTER 3. A Gesture In May……………………………………………... 145 Part I. Beyond the Memory War……………………………………… 145 Part II. Touching the Historical Dimension Deeply…………………... 179 Part III. Continuations ………………………………………………… 207 Conclusion……………………………………………………………………. 242 Bibliography………………………………………………………………….. 268 vi LIST OF FIGURES Figure 1.1: Painting entitled “The Surrealist Constellation” by Valentine Hugo.................................................................................................................. 37 Figure 1.2: Hubble Image of “Messier 82” by NASA, ESA, and The Hubble Heritage Team................................................................................................... 43 Figure 1.3: Monument in Memory of the Communards Shot at the Communard’s Wall by Paul Moreau-Vauthier......................................................................... 45 Figure 1.4: Photograph “Under the Cobblestones, the Beach” by Serge Hambourg.......................................................................................................... 79 Figure 1.5: Photograph “FRANCE. Paris. 5th arrondissement. Latin Quarter. Gay- Lussac street. Morning of the 11th of May, 1968” by Bruno Barbey............... 82 Figure 1.6: Photograph “Paving Blocks in a barricade, Paris 1874” by Pierre- Ambroise Richebourg........................................................................................ 83 Figure 2.1: Mexican 20 Centavos, 1966............................................................ 101 Figure 2.2: Seal entitled “Novus Ordo Seclorum” printed on back of U.S. one-dollar bill…………………………………………………………………………….. 102 Figure 2.3: Triangulation of Patriarchal Power………………………………. 104 Figure 2.4: Triangulation of Patriarchal Power………………………………. 135 Figure 2.5: Beyond the Patriarchal Triangulation of Power………………….. 138 Figure 2.6: Painting entitled “La Llamada (The Call)” by Remedios Varo….. 143 Figure 3.1: Front Page of The Plain Dealer Newspaper published on 20 November 1969................................................................................................................... 180 Figure 3.2: Photograph showing Caskets of U.S. servicemen 28 May 1965… 180 Figure 3.3: Archival footage featured in Herbert’s Hippopotamus………….. 198 Figure 3.4: Student-produced flyer featuring George Winne Jr.’s written message………………………………………………………………………. 199 vii Figure 3.5: The Venerable Thich Quang Duc Monument in Ho Chi Minh City…………………………………………………………………………… 216 Figure 3.6: Detail of The Venerable Thich Quang Duc Monument (Center)… 217 Figure 3.7: Detail of The Venerable Thich Quang Duc Monument (Left)…… 217 Figure 3.8: The George Winne Memorial Grove at UCSD…………………... 222 Figure 3.9: Sculpture entitled 30 Blocks by Virginia Maksymowicz………… 223 Figure 3.10: Photograph of memorial service for Winne appearing in Triton Times 12 May 1970………………………………………………………………….. 227 Figure 3.11: Photograph of 30th Anniversary Vigil for George Winne appearing in UCSD Guardian 4 May 1990………………………………………………… 228 Figure 3.12: Photograph of 42nd Anniversary Vigil on 11 May 2012………... 228 Figure 3.13: Preliminary Sketch of May 1970 Peace Memorial....................... 238 Figure 3.14: Preliminary Sketch of May 1970 Peace Memorial (layout)......... 239 Figure 3.15: The May 1970 Peace Memorial at night....................................... 240 Figure 4.1: Scene from Patricio Guzmán’s Nostalgia For The Light………… 255 Figure 4.2: Vigil For The 43………………………………………………….. 264 Figure 4.3: Photograph entitled “Pale Blue Dot” taken by Voyager 1 Space Probe on 14 February 1990............................................................................................... 266 viii ACKNOWLEDGEMENTS As I reread this dissertation I see so little of myself. Word by word, I see myself dissolving, like those bubbles my nephew blows in my sister’s backyard that float, for a time, and then burst back into air, grass, trees. What comes into relief as I dissolve are all of you that stand behind my words, the background without which there would be no foreground. I see my cohort. I see us on Day 1, fresh faced, not knowing what’s to come. I see us before we took our different paths. We stand together at a rally. We put down our books and march with the community for a justice our words can only gesture toward. I see the ragtag among us, The Villagers, lit by a light far more honest than the glow of laptops and office bulbs. In this light, I see Megan pouring herself into manifestos. She is a reincarnation of Emma Goldman or some forgotten anarchist who altered history for the better. I see June surrounded by a diamond sky, each sashay breaks the chains. I see Rosi and Anthony on the streets of Paris in ’68 and Havana in 1959. I see Dennis breathing life into drowned slaves and entombed prisoners that History tried to forget. I see Chris and Joo Ok towering above the academy and shaking apart its walls to reveal something new. I see Meli and Esteban shape-shifting into cats whose upturned brows suggest a skepticism and playfulness with the world. I see the Dimensions of Culture community. I see Sue, holding the ship together with fluorescent post-its and multicolored sticky notes. I see Ash, ix Genevieve, Linh, Jorge, and Jeff. I see what we cannot see: the ripples of our teaching that extend outward in our students’ wakes. I see those students—Allyson and Gracie and so many others—who carry the DOC tools along with the joys and sorrows of their communities. I see them becoming our teachers and our hope. I see mentors who shared their wisdom. I see Page, so graceful, in her philosopher’s office that resides outside of time and space. She welcomes me in when I’ve been outside for too long. I see Luis, whose heart carries a revolutionary fire never to be extinguished by Fascism. I see us smoking wooden pipes in a dream desert where he shares that fire with me and tells me that I’ll find my own way of sharing it with the people. I see those who guided me, and my writing, back to a space far too belittled and devalued in academia: the space of the heart. I see the monks and nuns of Deer Park Monastery. I see Brent Honnerlaw, Robin Christ, and Guru Mantra Singh. I see Ram Dass and Neem Karoli Baba tugging at my forgotten heartstrings. I see Jay. His red pen run dry, he too begins to write from that space. I see friends and family. I see Jimmy, Manny, Mark, Alejandra, and James, all of us drunk on a friendship more potent than gin. I see Howard, Deirdre, and Danielle trading in the heavy books for cats, dogs, and graphic novels. I see Larry, Tony, Jay, Jeff, Bahman, and Rawlinson sharing a cosmic giggle that cracks
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