Academic literature on the topic 'Queen Anne Parish'

Several authors in recent years have expressed doubts that the so-called Petites Heures d’Anne de Bretagne (BnF, n. a. lat. 3027) has any connection to this queen. François Avril summarised some of the discrepancies in 1994: the monogram does not easily fit the name ‘Anne’ and differs from the monogram used for Anne in other works, and a small animal featured throughout the manuscript, often identified as the Brittany ermine, is depicted more often with a brown pelt and thus appears closer to a civet. In this paper I argue that this manuscript was commissioned as a gift for Jeanne de France (1464–1505), Louis XII’s first wife, rather than his second wife, Anne de Bretagne. I argue that the monogram is a cipher of the name ‘Jeanne’ and that the small animal and white flower, used throughout the manuscript in the border decoration, are the genet and the ‘janette’, each a play on the name Jeanne. The strong connection to Louis and to the House of Orléans, indicated throughout the work, suggests that it was produced before the annulment of his and Jeanne’s marriage in 1498. Furthermore, the unusual choice of iconography in the illuminations may reflect Louis’ involvement in the Italian campaigns at this time. BnF, n. a. lat. 3027 is one of the finest works attributed to the Master of the Petrarch Triumphs, an artist active in Rouen and Paris c.1500. A clarification of the origin, circumstances, and purpose of this manuscript is important not only for our understanding of the role of Jeanne as a collector, but also for our understanding of the career of this artist.

This article argues that a queer perspective on Asian Canadian studies can open new inquiries and simultaneously trouble the centrality of family, generation, and community in documenting and examining racialized minority and diasporic groups. By rethinking these analytical concepts through queer possibilities and interventions, research into Asian Canada can become more inclusive and transgressive, and can foreground alternative queer kinships which exceed heteropatriarchal bloodlines, filial relations, and co-ethnic singularities. Putting forth counter-histories of racialized and diasporic sexualities, this article builds upon and complements archival research on lesbian, gay, bisexual, and transgender Asian Canadians, and turns to artists and cultural workers who offer rich historical and contemporary representations of queer Asian Canada. In particular, it examines the 2015 film It Runs in the Family by Joella Cabalu, the 2016 film Re:Orientations by Richard Fung, and the 2016 exhibition Not a Place on a Map: The Desh Pardesh Project curated by Anna Malla.

Ferdinand Augustin Hallerstein (1703–1774) (Chinese name Liu Songling) was a Slovenian Jesuit, astronomer and mathematician who made an important contribution to the development of science and astronomy in 18th century China. He arrived in Beijing in 1739, and in 1746 was appointed to succeed Ignatius Kogler as Head of the Imperial Board of Astronomy, a position he would hold until his own death nearly 30 years later. Throughout his four decades in China, Hallerstein maintained a rich correspondence with family members, other Jesuits in Europe, and even with the Queen of Portugal, Maria Anna. He was also a corresponding member of the Royal Societies of London, Paris and St. Petersburg. His letters have only recently been collected and edited.The present paper will focus on Hallerstein’s letters and what they tell us about the life and art of the celebrated Jesuit painter, Giuseppe Castiglione (1688–766), especially during the reign of the Emperor Qianlong (1711–799). After a brief introduction on Hallerstein’s life and work, by means of comparative analyses and using an interdisciplinary approach, the paper will explore a) Hallerstein’s views on Castiglione and his art, and b) Chinese court painting and Castiglione’s position at the court. It will conclude with new evidence concerning Castiglione’s artistic achievements.

This essay originates out of our shared interest in genres and media forms used for identity practices that do not cohere into a narrative or a fixed representation of who someone is. It takes the current heightened visibility of drag as a mode of performance that explicitly engages with identity as a product materialized—but not completed—by the ongoing process of performance. We consider the new drag, which we define below, as a form of playing with identity that combines bodily practices (comportment and use of voice) and adornment (make-up, clothing, wigs, and accessories) with an array of media (photography, live performance, social media and television). Given the limited space available, we will not be engaging with the propositions made during earlier feminist and queer thinking that drag is not inherently subversive and may reinscribe gender and race norms through their hyperbolic recitation (Butler 230-37; hooks 145-56). While we think there is much to be gained from revisiting these critiques in light of the changes in conceptualisations of gender in queer subcultures, we are not interested in framing drag as subversive or resistant in relation to the norms of masculinity and femininity. Instead, we follow Eve Sedgwick’s interest in reparative practices adopted by queer-identified subjects who must learn to survive in a hostile culture (“Paranoid”) and trace two lines of analysis we identify in drag’s new found visibility that demonstrate the reparative potential of automedia.At time of writing, RuPaul’s Drag Race (RPDR) has truly hit the big time. Pop icon Christina Aguilera was a guest judge for the first episode of its tenth season (Daw “Christina”), and the latest episode of RuPaul’s All-Stars season three spin-off show was the most-watched of any show in its network’s history (Crowley). RuPaul Charles, the producer and star of RPDR, has just been honoured with a star on the Hollywood Walk of Fame, decades after he began his career as a drag performer (Daw “RuPaul”). Drag queens are finally becoming part of American mainstream media and drag as an art form and a cultural practice is on its way to becoming part of discourse about gender and identity around the world, via powerful systems of digital mediation and distribution. RPDR’s success is a good way to think about how drag, a long-standing performance art form, is having a “break out” moment in popular culture. We argue here that RPDR is doing this within an automedia framework.What does automedia mean in the context of drag on television and social media? We understand automedia to be about the mediation of identity when identity is both a product of representation and a process that is continually becoming, expressed in the double meaning of the word “life” as biography and as process (Poletti “Queer Collages” 362; Poletti and Rak 6-7). In this essay we build on our shared interest in developing a critical mode that can respond to forms of automedia that explore “the possibility of identity in the absence of narration” (Rak 172). What might artists who work with predominantly non-narrative forms such as drag performance show us about the ongoing interconnection between technologies and subjectivities as they represent and think through what “life” looks like, on stage and off?Automedia names life as a process and a product that has the potential to queer temporality and normative forms of identification, what Jack Halberstam has called “queer time” (1). We understand Halberstam’s evocation of queer time as suitable for being thought through automedia because of their characterisation of queer as “a form of self-description in the past decade or so … [that] has the potential to open up new life narratives and alternative relations to time and space” (2). Queer time, Halberstam explains, comes from the collapse of the past and shaky relation to futurity gay men experienced during the height of the American AIDs crisis, but they also see queer time, significantly, as exceeding the terms of its arrival. Queer time could be about the “potentiality of a life unscripted by the conventions of family, inheritance, and child rearing” (2). Queer time, then, evokes the possibility of making a life narrative that does not have to follow a straight line or stay “on script,” and does not have to feature conventional milestones or touchstones in its unfolding. If queer time can be thought alongside automedia, within drag performances that are not about straight lives, narrative histories and straight time can come into view.Much has been written about drag as a performance that creates a public, for example, as part of a queer world-building project that shoots unpredictably through spaces beyond performance locations (Berlant and Warner 558). Halberstam’s shift to thinking of queer time as an opening of new life narratives and a different relation to time has similar potential when considering the work of RPDR as automedia, because the shift of drag performance away from clubs, parades and other queer spaces to television and the internet is accompanied by a concern, manifested in the work of RuPaul himself, with drag history and the management of drag memory. We argue that a concern with the relationship between time and identity in RPDR is an attempt to open up, through digital networked media, a queer understanding of time that is in relation to drag of the past, but not always in a linear way. The performances of season nine winner Sasha Velour, and Velour’s own preoccupation with drag history in her performances and art projects, is an indicator of the importance of connecting the twin senses of “life” as process and product found in automedia to performance and narration.The current visibility of drag in popular culture is characterised by a shifting relationship between drag and media: what was once a location-based, temporally specific form of performance which occurred in bars, has been radically changed through the increased contact between the media forms of performance, television and social media. While local drag queens are often the celebrities (or “superstars”) of their local subcultural scene, reality television (in the form of RPDR) and social media (particularly Instagram) have radically increased the visibility of some drag queens, turning them into international celebrities with hundreds of thousands of fans. These queens now speak to audiences far beyond their local communities, and to audiences who may not have any knowledge of the queer subcultures that have nurtured generations of drag performers. Under the auspices of RPDR, drag queens have gained a level of cultural visibility that produces fascinating, and complex, encounters between subcultural identity practices and mainstream media tropes. Amongst her many tasks—being fierce, flawless, hilarious, and able to turn out a consummate lip sync performance—the newly visible drag queen is also a teacher. Enacting RuPaul’s theory of identity from his song title—“We’re all born naked and the rest is drag” (“Born”)—drag queens who in some way embody or make use of RuPaul’s ideas have the potential to advance a queer perspective on identity as a process in keeping with Judith Butler’s influential theory of identity performativity (Butler 7-16). In so doing they can provide fresh insights into the social function of media platforms and their genres in the context of queer lives. They are what we call “new” drag queens, because of their access to technology and digital forms of image distribution. They can refer to classic drag queen performance culture, and they make use of classic drag performance as a genre, but their transnational media presence and access to more recent forms of identification to describe themselves, such as trans, genderqueer or nonbinary, mark their identity presentations and performance presences as a departure from other forms of drag.While there is clearly a lot to be said about drag’s “break out,” in this essay we focus on two elements of the “new media” drag that we think speak directly, and productively, to the larger question of how cultural critics can understand the connection between identity and mediation as mutually emergent phenomena. As a particularly striking practitioner of automediality, the new drag queen draws our attention to the way that drag performance is an automedial practice that creates “queer time” (Halberstam), making use of the changing status of camp as a practice for constructing, and mediating identity. In what follows we examine the statements about drag and the autobiographical statements presented by RuPaul Charles and Sasha Velour (the winner of RPDR Season Nine) to demonstrate automediality as a powerful practice for queer world-making and living.No One Ever Wins Snatch Game: RuPaul and TimeAs we have observed at the opening of this essay, queer time is an oppositional practice, a refusal of those who belong to queer communities to fall into step with straight ideas about history, futurity, reproduction and the heteronormative idea of family, and a way to understand how communities mark occasions, conceptualize the history and traditions of subcultures. Queer time has the potential to rethink daily living and history differently and to tell accounts of lives in a different way, to “open up new life narratives,” as Halberstam says (2). RuPaul Charles’s own life story could be understood as a way to open up new life narratives literally by constructing what a queer life and career could mean in the aftermath of the AIDS epidemic in the United States. His 1995 memoir, Lettin It All Hang Out, details RuPaul’s early career in 1980s Atlanta, Georgia and in New York as an often-difficult search for what would make him a star. RuPaul did not at first conceptualize himself as a drag star, but as a punk musician in Atlanta and then as part of the New York Club Kid community, which developed when New York clubs were in danger of closing because of fear of the AIDS epidemic (Flynn). RuPaul became adept at self-promotion and image-building while he was part of these rebellious punk and dance club subcultures that refused gender and lifestyle norms (Lettin 62-5). It might seem to be an unusual beginning for a drag star, but as RuPaul writes, “I always knew I was going to be star [but] I never thought it was going to be as a drag queen” (Lettin 64). There was no narrative of mainstream success that RuPaul—a gay, gender non-binary African-American man from the American Midwest—could follow.Since he was a drag performer too, RuPaul eventually “had an epiphany. Why couldn’t I [he] become a mainstream pop star in drag? Who said it couldn’t be done?” (Workin’ It 159). And he decided that rather than look for a model of success to follow, he would queer the mainstream model for success. As he observes, “I looked around at my favorite stars and realized that they were drag queens too. In fact every celebrity is a drag queen” (Lettin 129). Proceeding from the idea that all people are in fact drag artists—the source of RuPaul’s aformentioned catch-phrase and song title “We’re all born naked and the rest is drag” (“Born”), RuPaul moved the show business trajectory into queer time, making the “formula” for success the labour required of drag queens to create personae, entertain, promote themselves and make a successful living (and a life) in dangerous work environments—a process presented in his song “Supermodel” and its widely-cited lyric “You better work!” (“Supermodel”). The video for “Supermodel” shows RuPaul in his persona as Supermodel of the World, “working” as a performer and a member of the public in New York to underscore the different kinds of labour that is involved, and that this labour is necessary for anyone to become successful (“Supermodel” video).When RuPaul’s Drag Race began in 2010, RuPaul modelled the challenges in the show on his own career in an instance of automedia, where the non-narrative aspects of drag performance and contest challenges were connected to the performance of RuPaul’s own story. According to one of RuPaul’s friends who produces the show: “The first season, all the challenges were ‘Ru did this, so you did this.’ It was Ru’s philosophy” (Snetiker). As someone who was without models for success, RuPaul intends for RPDR to provide a model for others to follow. The goal of the show is the replication of RuPaul’s own career trajectory: the winners of RPDR are each crowned “America’s Next Drag Superstar,” because they have successfully learned from RuPaul’s own experiences so that they too can develop their careers as drag artists. This pattern has persisted on RPDR, where the contestants are often asked to participate in challenges that reflect RuPaul’s own struggles to become a star as a way to “train” them to develop their careers. Contestants have, like RuPaul himself, starred in low-budget films, played in a punk band, marketed their own perfume, commemorated the work of the New York Club Kids, and even planned the design and marketing of their own memoirs.RPDR contestants are also expected to know popular culture of the past and present, and they are judged on how well they understand their own “herstory” of the drag communities and queer culture. Snatch Game, a popular segment where contestants have to impersonate celebrities on a queer version of the Match Game series, is a double test. To succeed, contestants must understand how to impersonate celebrities past and present within a camp aesthetic. But the segment also tests how well drag queens understand the genre of game show television, a genre that no longer exists on television (except in the form of Wheel of Fortune or Jeopardy), and that many of the RPDR contestants are not old enough to have seen, performing witty taglines and off-the-cuff jokes they hope will land in a very tight time frame. Sasha Velour, the winner of season nine, won praise for her work in the Snatch Game segment in episode six because, acting on advice from RuPaul, she played Marlene Dietrich and not her first choice, queer theorist Judith Butler (RuPaul’s). Sasha Velour was able to make Dietrich, a queer icon known for her film work in the 1920-1940s, humorous in the game show context, showing that she understands queer history, and that she is a skilful impersonator who understands how to navigate a genre that is part of RuPaul’s own life story. The queer time of RuPaul’s narrative is transmitted to a skill set future drag stars need to use: a narrative of a life becomes part of performance. RPDR is, in this sense, automedia in action as queens make their personae “live,” perform part of RuPaul’s “life” story, and get to “live” on the show for another week if they are successful. The point of Snatch Game is how well a queen can perform, how good she is at entertaining and educating audiences, and how well she deals with an archaic genre, that of the television game show. No one ever “wins” Snatch Game because that is not the point of it. But those who win the Snatch Game challenge often go on to win RPDR, because they have demonstrated improvisational skill, comic timing, knowledge of RuPaul’s own life narrative touchstones and entertained the audience.Performative Agency: The Drag Performance as Resource for Queer LivingVelour’s embodied performance in the Snatch Game of the love and knowledge of popular culture associated with camp, and its importance to the art of drag, highlights the multifaceted use of media as a resource for identity practices that characterizes drag as a form of automedia. Crucially, it exemplifies the complex way that media forms are heavily cited and replayed in new combinations in order to say something real about the ways of living of a specific artist or person. Sasha Velour’s impersonation of Dietrich is not one in which Velour’s persona disappears: indeed, she is highly commended by RuPaul, and fans, because her embodiment of Dietrich in the anachronous media environment of the Snatch Game works to further Velour’s unique persona and skill as a drag artist. Velour queers time with her Dietrich in order to demonstrate her unique sensibility and identity. Thus, reality TV, silent film, cabaret, improvisation and visual presentation are brought together in an embodied performance that advances Velour’s specific form of drag and is taken as a strong marker of who Sasha Velour is.But what exactly is Sasha Velour doing when she clarifies her identity by dressing as Marlene Dietrich and improvises the diva’s answers to questions on a game show? This element of drag is clearly connected to the aesthetics of camp that have a long tradition in gay and queer culture. Original theories of camp theorized it as a practice of taste and interpretation (Sontag)—camp described a relationship to the objects of popular culture that was subversive because it celebrated the artificiality of aesthetic forms, and was therefore ironizing. However, this understanding of camp does not adequately describe its role in postmodern culture or how some queer subcultures cultivate the use media forms for identity practices (O’Neill 21). In her re-casting of camp, Eve Kosofsky Sedgwick argues:we need to [think of camp] not in terms of parody or even wit, but with more of an eye of its visceral, operatic power: the startling outcrops of overinvested erudition; the prodigal production of alternative histories; the ‘over’-attachment to fragmentary, marginal, waste, lost, or leftover cultural products; the richness of affective variety; and the irrepressible, cathartic fascination with ventriloquist forms of relation. (Sedgwick The Weather 66)This reframing of camp emphasises affect, attachment and forms of relation as ongoing processes for the making of queer life (a process), rather than as elements of queer identity (a product). For Sedgwick camp is a practice or process that mediates queerness in the context of a hostile mainstream media culture that does not connect queer ways of living with flourishing or positive outcomes (Sedgwick “Paranoid Reading” 28). In O’Neill’s account, camp does not involve attachment to the diva as a fixed identity whose characteristics can be adopted in irony or impersonation in which the individual disappears (16). Rather, it is the diva’s labour—her way of marshalling her talent to produce compelling performances, which come to be the hallmark of her career and identity—that is the site of queer identification. What RuPaul wittily refers to as a drag queen’s “charisma, uniqueness, nerve and talent” (the acronym is important), O’Neill refers to as the diva’s “performative agency”—the primary “power to perform” (16, emphasis in original). This is the positive power of camp as form of automediation for queer world making: media forms provide resources that queer subjects can draw on in assembling a performance of identity as modes of embodiment and ways of being that can be cited (the specific posture of Dietrich, for example, which Velour mimics) and in terms of the affect required to marshal the performance itself.When she was crowned the winner of season nine of RPDR, Sasha Velour emphasised the drag queen’s performative agency itself as a resource for queer identity practices. After being announced the winner, Velour said: “Let’s change shit up. Let’s get all inspired by all this beauty, all this beauty, and change the motherfucking world” (Queentheban). This narrative of the world-changing power of the beauty of drag refers to the visibility of the new drag queens, who through television and social media now have thousands of fans across the world. Yet, this narrative of the collective potential of drag is accompanied by Velour presenting her own autobiographical narrative that posits drag as an automedial practice whose “richness of affective variety” has been central to her coming to terms with the death of her mother from cancer. In interviews and in her magazine about drag (Velour: The Drag Magazine) Velour narrates the evolution of her drag and her identity as a “bald queen” whose signature look includes a clean-shaven head which is often unadorned or revealed in her performances as directly linked to her mother’s baldness brought on by treatment for cancer (WBUR).In an autobiographical photo-essay titled “Gone” published in Velour, Velour poses in a series of eight photographs which are accompanied by handwritten text reflecting on the role of drag in Velour’s grieving for her mother. In the introduction, the viewer is told that the “books and clothes” used in the photos belonged to Velour’s mother, Jane. The penultimate image shows Velour lying on grass in drag without a wig, looking up at the camera and is accompanied by nineteen statements elucidating what drag is, all of which are in keeping with Sedgwick’s reframing of camp practices as reparative strategies for queer lives: “Drag is for danger / Drag is for safety / Drag is for remembering / Drag is for recovering.” Affect, catharsis, and operatic power are narrated and visually rendered in the photo-essay, presenting drag as a highly personal form of automediation for Velour. The twentieth line defining drag appears on the final page, accompanied by a photograph of Velour from behind, her arms thrown back and tensile: “Drag is for dressing up / And this is my mother’s dress.”Taken together, Velour’s generic and highly personal descriptions of drag as a process and product that empowers individual and collective queer lives define drag as a form of automedia in which identity and living are a constant process of creativity and invention “where ideas about the self and what it means to live are tested, played with, rejected, and embraced” (Rak 177).Velour’s public statements and autobiographical works foreground how the power, investment, richness and catharsis encapsulated in drag performance offers an important antidote to the hostility to queer ways of being embodied by an assimilationist gay politics. In a recent interview, Velour commented on the increased visibility of her drag beyond her localised performances in “dive bars” in New York:When Drag Race came on television I feel like the gay community in general was focussed on […] dare I say, a kind of assimilation politics, showing straight people and the world at large that we are just like everyone else and I think drag offered a radical different saying [sic] and reminded people that there’s been this grand tradition of queer people and gay people saying ‘actually we’re fabulously different and this is why.’ (PopBuzz)Velour suggests that in its newly visible forms outside localised queer cultures, drag as a media spectacle offers an important alternative to the pressure for queer people to assimilate to dominant forms of living, those practices, forms of attachment and relation Halberstam associates with straight time.ConclusionThe queer time and performative agency enacted in drag provides a compelling example of non-narrative forms of identity work in which identity is continuously emerging through labour, innovation, and creativity (or—in RuPaul’s formulation—charisma, uniqueness, nerve and talent). This creativity draws on popular culture as a resource and site of history for queer identities, an evocation of queer time. The queer time of drag as a performance genre has an increasing presence in media forms such as television, social media and print media, bringing autobiographical performances and narratives by drag artists into new venues. This multiple remediation of drag recasts queer cultural practices beyond localised subcultural contexts into the broader media cultures in order to amplify and celebrate queerness as a form of difference, and differing, as automediality.ReferencesBerlant, Lauren, and Michael Warner. “Sex in Public.” Critical Inquiry 24.2 (Winter 1998): 547-566.Butler, Judith. Bodies That Matter: On the Discursive Limits of Sex. New York and London: Routledge, 1993.Crowley, Patrick. “‘RuPaul’s Drag Race’ Sets New Franchise Ratings Records.” Billboard. 2 Mar. 2018 <https://www.billboard.com/articles/news/pride/8225839/rupauls-drag-race-sets-franchise-ratings-records>.Daw, Stephen. “Christina Aguilera Will Be First Guest Judge of ‘RuPaul's Drag Race’ Season 10.” Billboard. 1 Mar. 2018 <https://www.billboard.com/articles/news/pride/8223806/christina-aguilera-rupauls-drag-race-season-10>.———. “RuPaul to Receive a Star on the Hollywood Walk of Fame.” Billboard. 1 Mar. 2018 <https://www.billboard.com/articles/news/pride/8223677/rupaul-hollywood-walk-of-fame-star>.Flynn, Sheila. “Where Are New York’s Club Kids of the 80s and 90s Now?” Daily Mail. 4 Sep. 2017 <http://www.dailymail.co.uk/news/article-4851054/Where-New-York-s-Club-Kids-80s-90s-now.html>.Halberstam, J. Jack. “Queer Temporality and Postmodern Geographies.” In a Queer Time and Place. New York: NYU P, 2005. 1-21.hooks, bell. “Is Paris Burning?” Black Looks: Race and Representation. Boston: South End, 1992.O’Neill, Edward. “The M-m-mama of Us All: Divas and the Cultural Logic of Late Ca(m)pitalism.” Camera Obscura 65.22 (2007): 11–37. Poletti, Anna, and Julie Rak, eds. “Introduction: Digital Dialogues.” Identity Technologies: Constructing the Self Online. Madison, WI: U of Wisconsin P, 2014. 1-25.Poletti, Anna. “Periperformative Life Narrative: Queer Collages.” GLQ: A Journal of Lesbian and Gay Studies 22.3 (2016): 359-379.PopBuzz. “Sasha Velour Talks All Stars 3, Riverdale and Life after Winning RuPaul’s Drag Race.” 16 Feb. 2018 <https://youtu.be/xyl5PIRZ_Hw>.Queentheban. “Sasha Velour vs Peppermint | ‘It's Not Right But It's Okay’ & Winner Announcement.” 23 Jun. 2017 <https://youtu.be/8RqTzzcOLq4>.Rak, Julie. “Life Writing versus Automedia: The Sims 3 Game as a Life Lab.” Biography: An Interdisciplinary Quarterly 38.2 (Spring 2015): 155-180.RuPaul. “Born Naked.” Born Naked. RuCo, Inc., 2014.———. Lettin It All Hang Out: An Autobiography. New York: Hyperion Books, 1999.———. “Supermodel (You Better Work).” Supermodel of the World. Tommy Boy, 1993.———. “Supermodel (You Better Work).” Dir. Randy Barbato. MTV, 1993. <https://www.youtube.com/watch?v=Vw9LOrHU8JI>.———. Workin’ It!: RuPaul's Guide to Life, Liberty, and the Pursuit of Style. New York: HarperCollins, 2010.RuPaul’s Drag Race. RuPaul. World of Wonder Productions. Season 9, 2017.Sedgwick, Eve Kosofsky. The Weather in Proust. Durham and London: Duke UP, 2011.———. “Paranoid Reading and Reparative Reading; Or, You’re So Paranoid, You Probably Think This Introduction Is about You.” Novel Gazing: Queer Readings in Fiction. Ed. Eve Kosofsky Sedgwick. Durham: Duke UP, 1997. 1-37.Sontag, Susan. “Notes on ‘Camp’.” Camp: Queer Aesthetics and the Performing Subject: A Reader. Ed. Fabio Cleto. Edinburgh: Edinburgh UP, 1991. 53-65.Snetiker, Mark. “The Oral History of RuPaul.” Entertainment Weekly (2016). <http://rupaul.ew.com/>.WBUR. “Sasha Velour on Why Drag Is a ‘Political and Historical Art Form’.” 24 July 2017. <http://www.wbur.org/hereandnow/2017/07/24/sasha-velour>.Velour, Sasha. “Gone (with Daphne Chan).” sashavelour.com. <http://sashavelour.com/work/#/daphnechan/>.

Neil Jordan’s Breakfast on Pluto (2005) reconceives transience and domesticity together. This queer Irish road film collapses opposition between mobility and home by uncoupling them from heteronormative structures of gender, desire, and space—male/female, public/private. The film’s protagonist, Patrick “Kitten” Braden (Cillian Murphy), wanders in search of a loved one without whom she does not feel at home. Along the way, the film exposes and exploits the doubleness of both “mobility” and “home” in the traditional road narrative, queering the conventions of the road film to convey the desire and possibilities for an alternative domesticity. In its rerouting of the traditional road plot, Breakfast on Pluto does not follow a hero escaping the obligations of home and family to find autonomy on the road. Instead, the film charts Kitten’s quest to realise a sense of home through trans-domesticity—that is, to find shelter in non-heteronormative, mutual care while in both transient and public spaces.I affix “trans-” to “domesticity” to signal both the queerness and mobility that transform understandings of domestic spaces and practices in Breakfast on Pluto. To clarify, trans-domesticity is not queer assimilation to heteronormative domesticity, nor is it a relegation of queer culture to privatised and demobilised spaces. Rather, trans-domesticity challenges the assumption that all forms of domesticity are inherently normalising and demobilising. In other words, trans-domesticity uncovers tensions and violence swept under the rugs of hegemonic domesticity. Moreover, this alternative domesticity moves between and beyond the terms of gender and spatial oppositions that delimit the normative home.Specifically, “trans-domesticity” names non-normative homemaking practices that arise out of the “desire to feel at home”, a desire that Anne-Marie Fortier identifies in queer diasporic narratives (1890-90). Accordingly, “trans-domesticity” also registers the affective processes that foster the connectedness and belonging of “home” away from private domestic spaces and places of origin, a “rethinking of the concept of home”, which Ed Madden traces in lesbian and gay migrant narratives (175-77). Building on the assumption of queer diaspora theorists “that not only can one be at home in movement, but that movement can be one’s very own home” (Rapport and Dawson 27), trans-domesticity focuses critical attention on the everyday practices and emotional labour that create a home in transience.As Breakfast on Pluto tracks its transgender protagonist’s movement between a small Irish border town, Northern Ireland, and London, the film invokes both a specifically Irish migration and the broader queer diaspora of which it is a part. While trans-domesticity is a recurring theme across a wide range of queer diasporic narratives, in Breakfast on Pluto it also simultaneously drives the plot and functions as a narrative frame. The film begins and ends with Kitten telling her story as she wanders through the streets of Soho and cares for a member of her made family, her friend Charlie’s baby.Although I am concerned with the film adaptation, Patrick McCabe’s “Prelude” to his novel, Breakfast on Pluto (1998), offers a useful point of departure: Patrick “Pussy” Braden’s dream, “as he negotiates the minefields of this world”, is “ending, once and for all, this ugly state of perpetual limbo” and “finding a map which might lead to that place called home” (McCabe x). In such a place, McCabe’s hero might lay “his head beneath a flower-bordered print that bears the words at last ‘You’re home’”(McCabe xi). By contrast, the film posits that “home” is never a “place” apart from “the minefields of this world”, and that while being in transit and in limbo might be a perpetual state, it is not necessarily an ugly one.Jordan’s film thus addresses the same questions as does Susan Fraiman in her book Extreme Domesticity: “But what about those for whom dislocation is not back story but main event? Those who, having pulled themselves apart, realize no timely arrival at a place of their own, so that being not-unpacked is an ongoing condition?” (155). Through her trans-domestic shelter-making and caregiving practices, Kitten enacts “home” in motion and in public spaces, and thereby realises the elision in the flower-bordered print in McCabe’s “Prelude” (xi), which does not assure “You are at home” but, rather, “You are home”.From Housed to Trans-Domestic SubjectivitySelf and home are equated in the dominant cultural narratives of Western modernity, but “home” in such formulations is assumed to be a self-owned, self-contained space. Psychoanalytic theorist Carl Jung describes this Ur-house as “a concretization of the individuation process, […] a symbol of psychic wholeness” (225). Philosopher Gaston Bachelard sees in the home “the topography of our intimate being”, a structure that “concentrates being within limits that protect” (xxxii). However, as historian Carolyn Steedman suggests, the mythic house that has become “the stuff of our ‘cultural psychology,’ the system of everyday metaphors by which we see ourselves”, is far from universal; rather, it reflects “the topography of the houses” of those who stand “in a central relationship to the dominant culture” (75, 17).For others, the lack of such housing correlates with political marginalisation, as the house functions as both a metaphor and material marker for culturally-recognised selfhood. As cultural geographer John Agnew argues, in capitalist societies the self-owned home is both a sign of autonomous individuality and a prerequisite for full political subjectivity (60). Philosopher Rosi Braidotti asserts that this figuration of subjectivity in “the phallo-Eurocentric master code” treats as “disposable” the “bodies of women, youth, and others who are racialised or marked off by age, gender, sexuality, and income” (6). These bodies are “reduced to marginality” and subsequently “experience dispossession of their embodied and embedded selves, in a political economy of repeated and structurally enforced eviction” (Braidotti 6).To shift the meaning of “home” and the intimately-linked “self” from a privately-owned, autonomous structure to trans-domesticity, to an ethos of care enacted even, and especially in, transient and public spaces, is not to romanticise homelessness or to deny the urgent necessity of material shelter. Breakfast on Pluto certainly does not allow viewers to do either. Rather, the figure of a trans-domestic self, like Braidotti’s “nomadic subject”, has the potential to challenge and transform the terms of power relations. Those now on the margins might then be seen as equally-embodied selves and full political subjects with the right to shelter and care.Such a political project also entails recognising and revaluing—without appropriating and demobilising—existing trans-domesticity. As Fraiman argues, “domesticity” must be “map[ped] from the margins” in order to include the homemaking practices of gender rebels and the precariously housed, of castaways and outcasts (4-5). This alternative map would allow “outsiders to normative domesticity” to “claim domesticity while wrenching it away from such things as compulsory heterosexuality […] and the illusion of a safely barricaded life” (Fraiman 4-5). Breakfast on Pluto shares in this re-mapping work by exposing the violence embedded in heteronormative domestic structures, and by charting the radical political potential of trans-domesticity.Unsettling HousesIn the traditional road narrative, “home” tends to be a static, confining structure from which the protagonist escapes, a space that then functions as “a structuring absence” on the road (Robertson 271). Bachelard describes this normative structure as a “dream house” that constitutes “a body of images that give mankind proofs or illusions of stability” (17); the house functions, Henri Lefebvre argues, as “the epitome of immobility” (92). Whether the dream is to escape and/or to return, “to write of houses”, as Adam Hanna asserts, “is to raise ideas of shelters that are fixed and secure” (113).Breakfast on Pluto quickly gives lie to those expectations. Kitten is adopted by Ma Braden (Ruth McCabe), a single woman who raises Kitten and her adopted sister in domestic space that is connected to, and part of, a public house. That spatial contiguity undermines any illusion of privacy and security, as is evident in the scene in which a school-aged Kitten, who thought herself safely home alone and thus able to dress in her mother’s and sister’s clothes, is discovered in the act by her mother and sister from the pub’s street entrance. Further, the film lays bare the built-in mechanisms of surveillance and violence that reinforce heteronormative, patriarchal structures. After discovering Kitten in women’s clothes, Ma Braden violently scrubs her clean and whacks her with a brush until Kitten says, “I’m a boy, not a girl”. The public/house space facilitates Ma Braden’s close monitoring of Kitten thereafter.As a young writer in secondary school, Kitten satirises the violence within the hegemonic home by narrating the story of the rape of her biological mother, Eily Bergin (Eva Birthistle), by Kitten’s father, Father Liam (Liam Neeson) in a scene of hyper-domesticity set in the rectory kitchen. As Patrick Mullen notes, “the rendition of the event follows the bubble-gum logic and tone of 1950s Hollywood culture” (130). The relationship between the ideal domesticity thereby invoked and the rape then depicted exposes the sexual violence for what it is: not an external violation of the double sanctity of church and home space, but rather an internal and even intrinsic violence that reinforces and is shielded by the power structures from which normative domesticity is never separate.The only sense of home that seems to bind Kitten to her place of origin is based in her affective bonds to friends Charlie (Ruth Negga) and Lawrence (Seamus Reilly). When Lawrence is killed by a bomb, Kitten is no longer at home, and she leaves town to search for the “phantom” mother she never knew. The impetus for Kitten’s wandering, then, is connection rather than autonomy, and neither the home she leaves, nor the sense of home she seeks, are fixed structures.Mobile Homes and Queering of the Western RoadBreakfast on Pluto tracks how the oppositions that seem to structure traditional road films—such as that between home and mobility, and between domestic and open spaces—continually collapse. The film invokes the “cowboy and Indian” mythology from which the Western road narrative descends (Boyle 19), but to different ends: to capture a desire for non-heteronormative affective bonds rather than “lone ranger” autonomy, and to convey a longing for domesticity on the trail, for a home that is both mobile and open. Across the past century of Irish fiction and film, “cowboy and Indian” mythology has often intersected with queer wandering, from James Joyce’s Dubliners story “An Encounter” (1914) to Lenny Abrahamson’s film Adam & Paul (2004). In this tradition, Breakfast on Pluto queers “cowboy and Indian” iconography to convey an alternative conception of domesticity and home. The prevailing ethos in the film’s queered Western scenes is of trans-domesticity—of inclusion and care during transience and in open spaces. After bar bouncers exclude Kitten and friends because of her transgenderism and Lawrence’s Down syndrome, “The Border Knights” (hippie-bikers-cum-cowboys) ride to their rescue and bring them to their temporary home under the stars. Once settled around the campfire, the first biker shares his philosophy with a cuddled-up Kitten: “When I’m riding my hog, you think I’m riding the road? No way, man. I’m travelling from the past into the future with a druid at my back”. “Druid man or woman?” Kitten asks. “That doesn’t matter”, the biker clarifies, “What matters is the journey”. What matters is not place as fixed destination or gender as static difference, but rather the practice of travelling with open relationships to space, to time, and to others. The bikers welcome all to their fire and include both Kitten and Lawrence in their sharing of jokes and joints. The only exclusion is of reference to political violence, which Charlie’s boyfriend, Irwin (Laurence Kinlan), tries to bring into the conversation.Further, Kitten uses domesticity to try to establish a place for herself while on the road with “Billy Hatchett and The Mohawks”, the touring band that picks her up when she leaves Ma Braden’s. As Mullen notes, “Kitten literally works herself into the band by hand sewing a ‘squaw’ outfit to complement the group’s glam-rock Native American image” (Mullen 141). The duet that Kitten performs with Billy (Gavin Friday), a song about a woman inviting “a wandering man” to share the temporary shelter of her campfire, invokes trans-domesticity. But the film intercuts their performance with scenes of violent border-policing: first, by British soldiers at a checkpoint who threaten the group and boast about the “13 less to deal with” in Derry, and then by members of the Republican Prisoners Welfare Association, who throw cans at the group and yell them off stage. A number of critics have noted the postcolonial implications of Breakfast on Pluto’s use of Native American iconography, which in these intercut scenes clearly raises the national stakes of constructions of domestic belonging (see, for instance, Winston 153-71). In complementary ways, the film queers “cowboy and Indian” mythology to reimagine “mobility” and “home” together.After Kitten is forced out by the rest of the band, Billy sets her up in a caravan, a mobile home left to him by his mother. Though Billy “wouldn’t exactly call it a house”, Kitten sees in it her first chance at a Bachelardian “dream house”: she calls it a “house of dreams and longing” and cries, “Oh, to have a little house, to own the hearth, stool, and all”. Kitten ecstatically begins to tidy the place, performing what Fraiman terms a “hyper-investment in homemaking” that functions “as compensation for domestic deprivation” (20).Aisling Cormack suggests that Kitten’s hyper-investment in homemaking signals the film’s “radical disengagement with politics” to a “femininity that is inherently apolitical” (169-70). But that reading holds only if viewers assume a gendered, spatial divide between public and private, and between the political and the domestic. As Fraiman asserts, “the political meaning of fixating on domestic arrangements is more complex […] For the poor or transgendered person, the placeless immigrant or the woman on her own, aspiring to a safe, affirming home doesn’t reinforce hierarchical social relations but is pitched, precisely, against them” (20).Trans-Domesticity as Political ActEven as Kitten invokes the idea of a Bachelardian dream house, she performs a trans-domesticity that exposes the falseness of the gendered, spatial oppositions assumed to structure the normative home. Her domesticity is not an apolitical retreat; rather, it is pitched, precisely, against the violence that public/private and political/domestic oppositions enable within the house, as well as beyond it. As she cleans, Kitten discovers that violence is literally embedded in her caravan home when she finds a cache of Irish Republican Army (IRA) guns under the floor. After a bomb kills Lawrence, Kitten throws the guns into a reservoir, a defiant act that she describes to the IRA paramilitaries who come looking for the guns as “spring cleaning”. Cormack asserts that Kitten “describing her perilous destruction of the guns in terms of domestic labor” strips it “of all political significance” (179). I argue instead that it demonstrates the radical potential of trans-domesticity, of an ethos of care-taking and shelter-making asserted in public and political spaces. Kitten’s act is not apolitical, though it is decidedly anti-violence.From the beginning of Breakfast on Pluto, Kitten’s trans-domesticity exposes the violence structurally embedded in heteronormative domestic ideology. Additionally, the film’s regular juxtaposition of scenes of Kitten’s homemaking practices with scenes of political violence demonstrates that no form of domesticity functions as a private, apolitical retreat from “the minefields of this world” (McCabe x). This latter counterpoint throws into relief the political significance of Kitten’s trans-domesticity. Her domestic practices are her means of resisting and transforming the structural violence that poses an existential threat to marginalised and dispossessed people.After Kitten is accused of being responsible for an IRA bombing in London, the ruthless, violent interrogation of Kitten by British police officers begins to break down her sense of self. Throughout this brutal scene, Kitten compulsively straightens the chairs and tidies the room, and she responds to her interrogators with kindness and even affection. Fraiman’s theorisation of “extreme domesticity” helps to articulate how Kitten’s homemaking in carceral space—she calls it “My Sweet Little Cell”—is an “urgent” act that, “in the wake of dislocation”, can mean “safety, sanity, and self-expression; survival in the most basic sense” (25). Cormack reads Kitten’s reactions in this scene as “masochistic” and the male police officers’ nurturing response as of a piece with the film’s “more-feminine-than-feminine disengagement from political realities” (185-89). However, I disagree: Kitten’s trans-domesticity is a political act that both sustains her within structures that would erase her and converts officers of the state to an ethos of care and shelter. Inspector Routledge, for example, gently carries Kitten back to her cell, and after her release, PC Wallis ensures that she is safely (if not privately) housed with a cooperatively-run peep show, the address at which an atoning Father Liam locates her in London.After Kitten and a pregnant Charlie are burned out of the refuge that they temporarily find with Father Liam, Kitten and Charlie return to London, where Charlie’s baby is born soon after into the trans-domesticity that opens the film. Rejoining the story’s frame, Breakfast on Pluto ends close to where it begins: Kitten and the baby meet Charlie outside a London hospital, where Kitten sees Eily Bergin with her new son, Patrick. Instead of meeting where their paths intersect, the two families pass each other and turn in opposite directions. Kitten now knows that hers is both a different road and a different kind of home. “Home”, then, is not a place gained once and for all. Rather, home is a perpetual practice that does not separate one from the world, but can create the shelter of mutual care as one wanders through it.The Radical Potential and Structural Limits of Trans-DomesticityBreakfast on Pluto demonstrates the agency that trans-domesticity can afford in the lives of marginalised and dispossessed individuals, as well as the power of the structures that militate against its broader realisation. The radical political potential of trans-domesticity manifests in the transformation in the two police officers’ relational practices. Kitten’s trans-domesticity also inspires a reformation in Father Liam, the film’s representative of the Catholic Church and a man whose relationship to others transmutes from sexual violence and repressive secrecy to mutual nurturance and inclusive love. Although these individual conversions do not signify changes in structures of power, they do allow viewers to imagine the possibility of a state and a church that cherish, shelter, and care for all people equally. The film’s ending conveys this sense of fairy-tale-like possibility through its Disney-esque chattering birds and the bubble-gum pop song, “Sugar Baby Love”.In the end, the sense of hopefulness that closes Breakfast on Pluto coexists with the reality that dominant power structures will not recognise Kitten’s trans-domestic subjectivity and family, and that those structures will work to contain any perceived threat, just as the Catholic Church banishes the converted Father Liam to Kilburn Parish. That Kitten and Charlie nevertheless realise a clear contentment in themselves and in their made family demonstrates the vital importance of trans-domesticity and other forms of “extreme domesticity” in the lives of those who wander.ReferencesAgnew, John. “Home Ownership and Identity in Capitalist Societies.” Housing and Identity: Cross Cultural Perspectives. Ed. James S. Duncan. New York: Holmes and Meier, 1982. 60–97.Bachelard, Gaston. The Poetics of Space. 1957. Trans. Maria Jolas. 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(Albert Schirrmeister, Paris) Körber, Esther-Beate, Messrelationen. Biobibliographie der deutsch- und lateinischsprachigen „messentlichen“ Periodika von 1588 bis 1805, 2 Bde. (Presse und Geschichte – Neue Beiträge, 93 bzw. 94), Bremen 2018, edition lumière, VIII u. 1564 S. / Abb., € 59,80. (Mark Häberlein, Bamberg) Menne, Mareike, Diskurs und Dekor. Die China-Rezeption in Mitteleuropa, 1600 – 1800 (Histoire, 136), Bielefeld 2018, transcript, 406 S. / Abb., € 44,99. (Nadine Amsler, Frankfurt a. M.) Schreuder, Yda, Amsterdam’s Sephardic Merchants and the Atlantic Sugar Trade in the Seventeenth Century, Cham 2019, Palgrave Macmillan, XVI u. 287 S. / graph. Darst., € 85,59. (Jorun Poettering, Rostock) Rublack, Ulinka, Der Astronom und die Hexe. Johannes Kepler und seine Zeit, aus dem Englischen übers. v. Hainer Kober, Stuttgart 2018, Klett-Cotta, 409 S. / Abb., € 26,00. (Gerd Schwerhoff, Dresden) Akkerman, Nadine, Invisible Agents. 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Genderhistorische Analysen (Hallesche Forschungen, 49), Halle 2018, Verlag der Franckeschen Stiftungen Halle / Harrassowitz in Kommission, VIII u. 255 S. / Abb., € 46,00. (Heike Talkenberger, Stuttgart) Gottfried Wilhelm Leibniz – Kurfürstin Sophie von Hannover. Briefwechsel, hrsg. v. Wenchao Li, aus dem Französischen v. Gerda Utermöhlen / Sabine Sellschopp, Göttingen 2017, Wallstein, 872 S. / Abb., € 39,90. (Sophie Ruppel, Basel) Sangmeister, Dirk / Martin Mulsow (Hrsg.), Deutsche Pornographie in der Aufklärung, Göttingen 2018, Wallstein, 753 S. / Abb., € 39,90. (Norbert Finzsch, Köln / Berlin) Jones, Peter M., Agricultural Enlightenment. Knowledge, Technology, and Nature, 1750 – 1840, Oxford / New York 2016, Oxford University Press, X u. 268 S. / Abb., £ 76,00. (Frank Konersmann, Bielefeld) Wharton, Joanna, Material Enlightenment. Women Writers and the Science of Mind, 1770 – 1830 (Studies in the Eighteenth Century), Woodbridge / Rochester 2018, The Boydell Press, X u. 276 S. / Abb., £ 60,00. (Claire Gantet, Fribourg) Briefe der Liebe. Henriette von der Malsburg und Georg Ernst von und zu Gilsa, 1765 bis 1767, hrsg. v. Ulrike Leuschner (Veröffentlichungen der Historischen Kommission für Hessen, 46. Kleine Schriften, 15), Marburg 2018, Historische Kommission für Hessen, 272 S. / Abb., € 28,00. (Michael Maurer, Jena) Bernsee, Robert, Moralische Erneuerung. Korruption und bürokratische Reformen in Bayern und Preußen, 1780 – 1820 (Veröffentlichungen des Instituts für europäische Geschichte Mainz, Abteilung für Universalgeschichte, 241), Göttingen 2017, Vandenhoeck &amp; Ruprecht, 436 S., € 80,00. (Eckhart Hellmuth, München)

La construcción de la identidad y la de los intereses nacionales de todo Estado constituyen procesos interdependientes y complementarios que se llevan a cabo de manera intersubjetiva al interior de sus sociedades en una línea de tiempo de largo aliento. En tal sentido, las identidades nacionales son proyectadas en el plano internacional por los líderes de los respectivos Estados, quienes a través de sus ideas, cosmovisiones y decisiones, desempeñan roles internacionales específicos que son percibidos por sus pares en el escenario internacional. De esta manera, la identidad nacional es relacional por la idea y el conocimiento compartido que los tomadores de decisión tienen de su nación, a fin de que pueda ser percibida y comprendida por los líderes de los demás Estados, es decir, se trata una relación entre alter y ego. En esencia, las identidades nacionales son estructuras cognitivas colectivas que los Estados comparten socialmente en el ámbito internacional. En este orden de ideas, tal como se desarrollará en el marco teórico de esta obra, los intereses de los Estados son construidos por las identidades nacionales. Adicionalmente, la identidad nacional y los intereses nacionales son factores fundamentales que influyen sustancialmente en la formulación e implementación de la política exterior de todo Estado. Así las cosas, se pueden identificar factores endógenos (cultura nacional, factores ideacionales y materiales) y exógenos (cultura de la anarquía, patrones de cooperación, competencia o conflicto, distribución de poder, lugar que ocupa un Estado en la jerarquía de poder internacional) que influencian la construcción y proyección de identidad y la definición de los intereses nacionales. Ahora bien, para comprender e interpretar la identidad y los intereses nacionales de un Estado como Colombia se requiere de procesos investigativos y de un diálogo sistemático, interdisciplinar y plural entre académicos y tomadores de decisión. En este caso particular, hemos enfocado el análisis en problemáticas relacionadas con la identidad nacional, la defensa, la seguridad y los intereses estratégicos del Estado colombiano desde una perspectiva multidimensional. Por tanto, la obra es producto de un proceso de investigación y conjunto entre oficiales, activos y de la reserva activa de las FF. MM. de Colombia y de académicos de la Pontificia Universidad Javeriana. Los autores realizaron sus investigaciones y la producción de sus textos en el marco del Curso de Altos Estudios Militares (CAEM) y el Curso Integral de Defensa Nacional (CIDENAL) de la Escuela Superior de Guerra (ESDEGUE). El proyecto fue auspiciado por la Fundación Konrad Adenauer de Colombia como concreción de la cooperación interinstitucional que ha venido llevando a cabo desde hace tres años con la Escuela Superior de Guerra, de modo que esta obra es el resultado del compromiso entre ambas entidades y el Centro de Altos Estudios Militares. El libro que aquí presentamos tiene tres secciones: la primera, denominada Marco teórico, incluye un capítulo en el que se desarrollan conceptos y categorías esenciales para el análisis y la comprensión de las nociones de identidad nacional, interés nacional, tipología de intereses nacionales, poder, tipologías de poder, estrategia nacional, objetivos nacionales, etcétera; la segunda sección tiene como título Perspectivas sobre identidad e intereses nacionales de Colombia y sus capítulos aportan las visiones sobre lo que ha sido el estudio y la formulación de dicha problemática durante los ejercicios académicos en distintas promociones del CAEM y el CIDENAL; la tercera y última sección, Intereses específicos de Colombia, recoge los trabajos sobre el análisis de dichos intereses del país, desde distintos enfoques, con las recomendaciones pertinentes para mejorar su gestión y defensa. De esta forma, confluyen dos visiones o perspectivas de gran trascendencia para promover un conocimiento complejo, sólido, riguroso y complementario sobre cada objeto de estudio determinado por los ejes y capítulos de la obra. Por lo tanto, el primer capítulo es presentado por los profesores Eduardo Pastrana Buelvas y Diego Vera Piñeros, quienes elaboraron un marco teórico desde el constructivismo que pretende entregar herramientas históricas, conceptuales y referentes contextuales, con el propósito de acercarse de una forma más idónea a la comprensión e interpretación de los elementos constitutivos y de las características de los intereses y de la identidad de las naciones. Para ello, parten de un ejercicio genealógico interpretando y rastreando los principales antecedentes del nacimiento del concepto o categoría de intereses e identidad. Igualmente, incorporan las distintas tipologías sobre la identidad y los intereses nacionales, en cuyo desarrollo resaltan la importancia de la relación estrecha que existe entre la concepción del rol nacional y la identidad. Por último, enuncian las concepciones del rol nacional que Colombia ha desempeñado y a través de las cuales ha sido percibida en su devenir histórico. Seguidamente, el segundo eje del libro está compuesto por seis capítulos. El primero de ellos es desarrollado por el mayor general Helder Fernán Giraldo Bonilla y el brigadier general (RA) Fabricio Cabrera Ortiz, autores que trabajaron la proyección nacional de Colombia desde los intereses nacionales. En esa línea, abordan analíticamente cómo la estrategia y el concepto de seguridad nacional en Colombia impactan la proyección del Estado y de las FF. MM. de cara a los desafíos y retos contemporáneos. Por su parte, el segundo capítulo del eje es presentado por el brigadier general de la Fuerza Aérea Colombiana Eliot Benavides González, el brigadier general del Ejército Nacional Erik Rodríguez Aparicio y el contralmirante de la Armada Nacional Óscar Darío Tascón Muñoz, quienes contribuyen con un análisis que parte del estudio y la comprensión de los puntos estructurales de la Apreciación Política Estratégica Nacional (APEN) y de la geopolítica contextual colombiana, en aras de identificar y determinar las amenazas, los problemas y las preocupaciones presentes en el entorno geoestratégico que tiene injerencia en la defensa y la seguridad multidimensional de Colombia. El tercer capítulo del eje es de autoría del profesor Eduardo Velosa Porras y consta de un análisis reflexivo sobre la concepción de nación, la percepción y la contestación del rol nacional en los ámbitos regionales y globales. Para esto, el autor parte de una interpretación sobre los principales roles que ha desempeñado Colombia en los últimos años, además, aborda de forma reflexiva y con relación a los elementos conceptuales y teóricos del rol, a qué identidades responden los roles que el país ha asumido en el marco de los intereses proyectados. Posteriormente, el cuarto capítulo del eje es elaborado por el profesor y estudiante del CIDENAL (2019) Francisco Alfonso Camargo Salas, quien desarrolla una definición y una clasificación de los intereses nacionales. A partir de ello, reflexiona sobre la identidad de Colombia, cómo esta se ha proyectado y, en consecuencia, cómo ha sido percibida en el escenario internacional. Para cerrar el capítulo, el autor presenta una relación analítica sobre el vínculo entre intereses y objetivos nacionales. El quinto capítulo del eje es trabajado por el mayor general (RA) Jorge Alberto Segura Manonegra, quien aborda la construcción del concepto de objetivos nacionales y cómo este impacta la estrategia de seguridad nacional. Para ello, hace una distinción conceptual y teórica sobre los intereses y los objetivos nacionales, y analiza la relación estructural entre objetivos, fines, modo y medios del Estado para la formulación y el alcance de los objetivos nacionales instituidos. El sexto y último capítulo del segundo eje es desarrollado por los coroneles de la Fuerza Aérea Colombiana Pedro Arnulfo Sánchez Suárez y del Ejército de Colombia Óscar Leonel Murillo Díaz, quienes presentan un análisis sobre la identidad nacional en relación con el patriotismo y el nacionalismo. Asimismo, reflexionan sobre las principales funciones de la identidad nacional y proponen un instrumento piloto orientado a interpretar y medir la percepción de la identidad nacional. El tercer eje del libro que versa sobre los intereses específicos de Colombia se compone de ocho capítulos. El primero de ellos es presentado por el brigadier general Óscar Zuluaga Castaño, el coronel Héctor Fabio Aristizábal Mustafá y el coronel Kerly Sánchez Pesca, cuya contribución es un análisis sobre el acceso al espacio exterior como un interés nacional vital de Colombia. Para el efecto, parten de una reflexión sobre la importancia del espacio ultraterrestre de Colombia para el desarrollo del comercio internacional y para la seguridad nacional. En este capítulo, los autores privilegian un enfoque desde el realismo clásico para interpretar y comprender la relevancia del espacio exterior como interés vital de Colombia. A continuación, el segundo capítulo del eje, elaborado por Óscar Cabrera Izquierdo, expresidente ejecutivo del BBVA en Colombia y estudiante del CIDENAL (2019), y por la economista Juana Téllez Corredor, consta de un análisis sobre los principales desafíos y retos de la economía colombiana ante las nuevas tendencias globales. En esa línea, los autores parten de la identificación de patrones y de datos macro y microeconómicos de los últimos años para el país. Con ello, a manera de reflexión prospectiva, se proponen proyectar las alternativas y los escenarios sobre la forma como la economía colombiana podría crecer y fortalecerse de cara a los desafíos globales. El tercer capítulo del eje es desarrollado por la profesora Louise Anne Lowe, quien aborda la protección ambiental como parte del interés nacional de Colombia y plantea un análisis sobre el complejo proceso teórico-práctico de la incorporación de los problemas ambientales en las agendas de los Estados. El cuarto capítulo del eje, cuyo autor es el brigadier general Raúl Flórez Cuervo, presenta una reflexión analítica sobre los intereses nacionales en juego en la Amazorinoquia. Para ello, inicia con un excurso argumentativo sobre la comprensión del valor vital de esta macrorregión para Colombia como Estado-nación y finaliza esbozando la identificación del complejo panorama de los factores que allí generan inestabilidad y tienen impacto en el país. A su vez, el quinto capítulo del eje es presentado por el coronel de Infantería de Marina de la Armada Colombiana Adolfo Enrique Hernández Ruiz y por el profesor Héctor Andrés Macías Tolosa, quienes trabajan los intereses marítimos y fluviales de Colombia. Así entonces, parten de una diferenciación conceptual entre el interés marítimo y el interés fluvial y después abordan de forma reflexiva la importancia que tienen los mares y ríos para la supervivencia del desarrollo de la nación. Para todo ello, los autores privilegian una mirada desde el realismo clásico y el neorrealismo. El sexto capítulo del eje es desarrollado por el profesor Carlos Álvarez Calderón y por la profesional en relaciones internacionales y estudios políticos de la Universidad Militar María Johana Alarcón Moreno, autores que presentan, a manera de reflexión, la identidad de Colombia como un asunto de interés nacional. En ese sentido, argumentan la necesidad de que los símbolos, los héroes, los rituales y los valores ameriten mayor relevancia para los estudios de seguridad y defensa, por lo que referencian que tales factores se constituyen como elementos fundamentales y determinantes de los intereses nacionales colombianos. Posteriormente, el séptimo capítulo del eje es el trabajo de los profesores Andrés Mauricio Valdivieso Collazos y Ricardo García Briceño, junto con la profesional en relaciones internacionales y estudios políticos de la Universidad Militar Sofía Correa Merchán, quienes interpretan cuáles han sido los intereses que los gobiernos de Colombia han priorizado de cara al cumplimiento de los estándares internacionales de derechos humanos. Para el cierre del capítulo, los autores proyectan la relación entre el interés nacional de los últimos dos gobiernos con relación a los procesos de construcción de paz en Colombia. El octavo y último capítulo del eje y del libro es presentado por el profesor Diego Vera Piñeros, la politóloga Paula Prieto y la internacionalista y comunicadora de la Pontificia Universidad Javeriana Daniela Garzón, quienes trabajaron la ciberseguridad, la ciberdefensa, la identidad y los intereses nacionales y de las Fuerzas Militares de Colombia. Para ello, inician con una caracterización de la denominada “cuarta revolución” con el propósito de determinar los procesos de producción que están a la vanguardia en materia de desarrollo, adquisición y uso de tecnologías digitales, físicas y biológicas, orientados a potenciar el crecimiento económico. Cierran el análisis abordando y articulando el interés de integrar los avances de la cuarta revolución a los campos de seguridad y defensa nacional, en aras de mejorar las capacidades institucionales y estatales frente a los desafíos y problemas contemporáneos. Así pues, este libro es una propuesta de reflexión, de análisis, de evaluación y de discusión sobre la o las identidades, el interés o los intereses de Colombia y el rol de las FF. MM. de cara a la construcción y configuración tanto de las identidades como de los intereses nacionales. Por lo tanto, desde una perspectiva interdisciplinaria y multidisciplinaria los autores presentan sus análisis con el principal objetivo de contribuir de forma prospectiva al entendimiento de los posibles escenarios en el marco de los complejos procesos y tendencias globales y regionales. Para los editores y para las instituciones auspiciadoras es muy satisfactorio lograr integrar dos perspectivas o dos visiones desde distintos roles (académicos y oficiales de las FF. MM. activos y de la reserva activa) sobre las diferentes aristas y complejidades de las identidades y los intereses del país. Finalmente, es menester decir que resulta gratificante para los editores poder contar con la participación y la contribución de cada uno de los autores, a quienes extendemos un gran agradecimiento por aceptar el desafío de proponer análisis y reflexiones para estos complicados y difíciles temas que demarcan la agenda política colombiana.

The chapter examines the crisis of authority that had emerged in early 1650 between cardinal Mazarin and Condé, and provides a character assessment of the two protagonists. Mazarin’s decision to resolve the crisis by arresting and imprisoning Condé, his brother, and his brother-in-law generated a variety of damaging consequences, including military operations conducted against the royal armies by Turenne, while opposition progressively focused hostility on Mazarin and his style of government. During a crucial few weeks in January 1651, open condemnation of the cardinal, above all by the Parlement of Paris, undermined the remnants of Mazarin’s power and forced him to release the princes. Despite Mazarin’s hopes for a rapprochement with Condé, he was expelled from France and ultimately settled in exile at Brühl in the territory of the Archbishop-Elector of Cologne. The rest of the chapter explores Mazarin’s inability, both practical and psychological, to accept the permanence of his exile, and his attempts to exert maximum pressure, through correspondence and allies at court, on Anne of Austria, the queen mother, to recall him to France. The chapter concludes with the comprehensive failure of this policy when, on the eve of Louis XIII’s thirteenth birthday and the declaration of his official majority, the regency government promulgated an edict reiterating Mazarin’s criminal behaviour and his banishment in perpetuity (6 September 1651).

The chapter begins by looking at the various ways, beyond applying pressure to the queen mother, by which Mazarin had sought to secure his return from exile, and their equal lack of success. This account is interwoven with an account of Condé’s political alienation after his return from imprisonment; his failure to develop stable political relationships either with Anne of Austria or the king’s uncle, Gaston d’Orléans; and the series of self-inflicted blows that he managed to inflict on his own power and standing. Frustrated by his declining influence and afraid of re-arrest, Condé refused to appear at the ceremony of the king’s majority and left Paris to establish a base of military resistance in Guienne, focused on the already rebellious city of Bordeaux. The initial months of Condé’s revolt saw his troops defeated and driven southwards by royalist forces. Despite Mazarin’s absence, the government showed that it had the capacity to crush Condé’s revolt. Yet for the cardinal, Condé’s rebellion was the great opportunity to justify ending his exile, returning at the head of mercenaries that would bring support to a supposedly beleaguered crown. Mazarin’s return to France in January 1652 had precisely the opposite effect, reviving the flagging rebellion and bringing together a wave of opposition from those hitherto neutral or sympathetic to the crown. In the rapidly shifting political and military context of early 1652 Condé slipped away from his army in Guienne, joined up with the forces of Gaston d’Orléans and Spanish troops aiding his rebellion, and inflicted a surprise defeat on royalist forces at Bléneau (6/7 April 1652).