Conceived 51 years after the global workers’ and student revolt of May 1968, this Focus will break down the theoretical and literary legacy of May into three intervals of 17 years. In 1985, 17 years after 1968, Luc Ferry and Alain Renaut published a book, La pensée 68, in which they canonized the view that the theoretical underpinning of May ’68 was provided by French structuralist thinkers, notably Michel Foucault, Jacques Derrida, Pierre Bourdieu and Jacques Lacan (see Ferry and Renaut 1985; for the English translation, see Ferry and Renaut 1990). Seventeen years later, in 2002, Kristin Ross’s book May ’68 and its Afterlives effectively replaced this canonical image with the notion that French structuralists were all either completely absent or showed at least great reserve during the events of May and that, moreover, the closest theoretical allies of the protesters and strikers were in fact the main philosophical targets of structuralist anti-humanists, namely Jean-Paul Sartre and Herbert Marcuse with their schools of humanist Marxism (see Ross 2002). Seventeen years after Ross’s seminal book, it may be time to negate both the thesis from 1985 and Ross’s antithesis from 2002, and ask the following simple question: why, despite the massive presence of Sartre and Marcuse, and the equally massive absence of Foucault, Derrida, Bourdieu and Lacan, but also Gilles Deleuze and Louis Althusser, has the memory politics of May ’68 during the past half-century included the canonization of structuralism and post-structuralism at the expense of none other than humanism, be it Marxist or non-Marxist?

The late twentieth and early twenty-first centuries have been dominated by multifarious crises that have given way to individual and collective wounds resulting from environmental disasters, exile and migratory movements, war, terrorism, radicalism and other disturbing historical episodes. Our main contention is that trauma and/or excessive exposure to vulnerable situations can be relieved thanks to diverse narrative practices. Accordingly, we explore the field of Trauma Studies since its emergence to its current evolution towards the vulnerability paradigm, examining the different meanings of vulnerability not only from the perspective of the life sciences but also from the social sciences and its application to the humanities. Then, we move on to the notion of resilience and how it can help us articulate and/or move beyond trauma and vulnerability. In keeping with this, considering the ethical and political relationality between the self and other, we highlight one’s tendency to be affected by the other’s wounds and vulnerability as well as the inevitability of interdependency and interconnectedness between people and non-human entities. Thus, we explore the role of literature in giving voice to the voiceless and to unheard experiences of suffering as well as in representing the demise of the sovereign self and the rise of human and non-human interconnectedness after being exposed to traumatic or disastrous events, as represented in contemporary literatures in English.

In May 2016 an Academia Europaea symposium with the title ‘Symmetry, Proportion and Seriality: The Semantics of Mirroring and Repetition in Science and the Arts’ was organized at the Freiburg Institute for Advanced Studies (FRIAS). Its major aim was to bring together interdisciplinary perspectives on symmetry and related concepts, comparing humanities approaches with those current in the material sciences.

New Nationalisms: Sources, Agendas, Languages, a seminar organised by Academia Europaea Wrocław Knowledge Hub, the University of Wrocław and the Lower Silesian University, on 25–27 September 2017, inquired into the problem of the rise of right-wing populism in Central Europe. Manifest in responses to the refugee crisis of 2015 and to the Brexit referendum in 2016 across Europe, the populists successfully mobilised constituencies with anti-EU and anti-immigration sentiments. These attitudes, in turn, stimulated the emergence of nationalist agendas on an unexpected scale, moving radical right-wing parties with a pronounced nationalist programme from the margins, much closer to real political power. As part of the Relocating Central Europe seminar series, our reflection focused on that region, attempting to answer fundamental questions about the sources, purposes and modes of operation of the new nationalist impetus in political programmes, including those fostered at government level.

A defining feature of new nationalisms, with their right-wing populist rhetoric, is the way they exploit the regime of truth prevalent in liberal democratic societies. Their use of the language of democracy, human rights and identity is sometimes hard to differentiate from the mainstream convention. Despite being majoritarian in the way it seeks democratic legitimacy, new nationalist discourse consistently advances demands framed in terms of minority protection. This is done by presenting the existence of ‘our’ nation as threatened by overwhelming forces of neo-liberal globalisation (embodied in the EU, the West or even in ‘the Washington establishment’). By using the Pussy Riot case as an empirical example, this article argues that there is no way of preventing the language of minority protection from being hijacked by ‘predatory identities’ unless one foregrounds the universal dimension of equality and emancipation, as opposed to rights and entitlements associated with particular identities. The key political question today, as always, is how to navigate between the totalitarian disregard of the local and the parochialist concentration on the particular.

This introduction briefly deals with the major orientations of this European Review Focus on ‘European crime fiction’. It first specifies what is meant by ‘Europe’ and which type of questions can be asked of crime fiction in view of a better understanding of Europe’s multiple and changing identities. It then presents the various contributions by linking them with the three fundamental questions of (1) circulation of crime fiction, (2) expansion of crime fiction in the broader cultural, social and economic field, and (3) the relevance of crime fiction for a thorough reflection on some properly European aspects of culture and society.

This article is in two parts: a series of drawings depicting walls, and a series of lyrical or imaginative commentaries on walls. The drawings show walls in multifarious forms, more or less abstract, more or less figurative, constrained by geometrical regularity. The format of presentation elicits the perception of rhythm in the lateral survey of the drawings, which in turn suggests the operation of forms comparable to those encountered in the perusal of poetic language organized over many pages in serial verse. In particular, comprising a visual series, the drawings may be discussed in terms of poetic devices such as echo, verse-line, and meter, and their repeating elements. Besides verbal art, the drawings also function as a schematic representation of walled edifices that embody the ratios and measures of symmetry in physical architecture (a cathedral interior, a city block, a Daedalian labyrinth, for example). Mindful of both analogies – with poetic language and physical architecture – the commentaries attempt reflection on the experience of symmetry in the drawings.

The new nationalism emerging across much of Europe is ready to forgo and forget lessons of history that had successfully domesticated and democratized the nations of the EU over the last 70 years. If the nation, however, is an important resource for integration, and integration is seen as a common project for both its citizens and its migrants, how can it be reimaged and supported to live up to this difficult and important task? This article will analyse these problems in the light of new and older concepts.

This article aims at showing that extreme situations, such as wars, can reveal a common human vulnerability, which thus leads to a lack of sovereignty affecting all the agents implied in the traumatic episode. In Zina Rohan’s 2010 novel, The Small Book, this shared vulnerability crosses time and space boundaries by connecting coetaneous characters and their subsequent generations through inherited traumatic memories. These connections lead Rohan to blur the boundaries between what we may understand as victims and perpetrators of trauma. Thus, drawing on significant theories within the fields of trauma and memory studies as well as on conceptions about human vulnerability and interconnectedness, the main aim of this study is to analyse the key narrative mechanisms used by this British–Jewish author in order to represent the shared vulnerability and exposure to trauma that reigns during war and post-war times.

The numerous interpretations and evaluations of 1968 that have been developed over the past half-century can arguably be divided into two. On one side, there are those accounts that regard 1968 as the threshold across which an older form of modernity passed to become what student revolutionaries of the period began to call late capitalism; and although late capitalism itself quickly became a fissured thing, this view has become orthodox. On the other side, there are those who insist that ’68 was a Badiousian event, an outbreak of liberatory possibilities to which we not only have a responsibility to remain faithful, but which provided a template for later more or less insurrectionary movements; undoubtedly the strongest argument for ’68’s enduring radical meaning and potential has been made by Kristin Ross in her 2002 book, May ’68 and its Afterlives. This article is partly committed to arguing for a middle way between these two views. I accept that the processes leading to and following the events of 1968 triggered the development of a new kind of capitalist society as well as formed the template for the radicalisms we now have. This mediation might seem to involve a contradiction, but in the end it is more accurate not to see these two views as they see themselves, namely as enemies, but rather as dialectically and functionally united. Without the kind of capitalism that the 1960s triggered, no radical movement politics; without radical, post-communist movement politics, no such late capitalism. To see that, we need to think about ’68 in larger contexts and terms than is usual. I will call the context I wish to bring to bear general secularization.

During the last two decades a dramatic shift in the production and distribution strategies of TV series has taken place on a global level. This article discusses how these broad changes also led to a transformation in the form and the themes of European crime series, which emerge as ideal objects to study the representation of European societies in contemporary popular culture. The article looks at recent serial crime dramas such as La casa de papel, Suburra, and Peaky Blinders, which have abandoned the classic formula of European crime TV series, usually focused on the figure of the detective and primarily addressed to a national audience. Designed for an international market, these series provocatively concentrate on the figure of the criminal and adopt an explicitly sensationalist approach. The article argues that this style and the bleak depiction of European society in these series are both an expression and a critical representation of the rise of populism across the Old Continent.

In the last two decades, mirroring systems have been detected in the monkey and in the human brain. The mirroring mechanisms have been considered as the neural basis for social cognition and interpersonal reactivity, and they have been assumed to support imitation, sharing of emotional states and empathy. Here I would like to compare ‘mirroring phenomena’ to ‘symmetrization phenomena’. In psychoanalytic literature, the construct of symmetrization has been proposed in the context of the Bi-Logic theory by Matte Blanco in 1975, on the basis of clinical evidence obtained in the psychoanalytical setting and following a theoretical analysis derived from the Freudian distinction between Primary and Secondary Processes. I will consider two different types of behaviours, empathic social interactions and the creation of transitional objects and spaces as defined by Winnicott in order to argue that symmetrization, in Matte Blanco’s terms, cannot be reduced to mirroring. I will then sketch a hypothesis on the interplay between the symmetric aspects of the mind and external reality in the development of higher relational functions of humans, also taking playing, arts and creativity into account. Finally I will describe the paradigmatic shift in neuro-imaging studies that was introduced with the discovery of the ‘Default Mode Network’ and its potential relevance in the research on the symmetric and asymmetric aspects of the human mind.

In the formation of the modern nation state and the social imaginary of nationalism in the nineteenth century, the media and representational practices have, among most scholars, been ascribed a prominent position. The question is, however, how have changes in media technologies, from mass media to digital and interactive personal media, impacted on the national imaginaries over the past few decades? This article discusses what happens with the social imaginaries when national(ist) symbols are reproduced through the medium of PowerPoint, as one of the main tools for constructing images of the nation in nation-branding campaigns, i.e. promotional campaigns initiated by governments in conjunction with corporate actors with the aim of producing an attractive image of a country for foreign investors and tourists. It is concluded that the representational technology of PowerPoint produces a nation as an imagined commodity rather than an imagined community.

This article examines how Sebastian Barry’s 2005 novel A Long Long Way explores the impact of the First World War in the construction of a sovereignty that is, against the grain of a teleological understanding of history, not incorporated in the official chronicle of the Irish independence from the British Empire. Through the lens of what I call ‘negative sovereignty’, which describes a form of agency that amounts to something less than nothing and is located in the obverse of the official historical record, I argue that the novel thematises the disruption caused by the war as a crisis in the hegemonic masculinity at the core of the national imagination. This article, thus, reads the novel’s protagonist, Willie Dunne, as a ‘queering’ subjectivity that embodies this kind of sovereignty, provoking a suspension in the patriarchal foundation of nation-building as symbolised by the severance of his relationship with his father.

This article on the French May ’68 addresses the gap between the immediacy of the event and the series of consequences that are supposed to have followed from it. In the eyes of the critics of May ’68 from all sides of the political spectrum, the events in France have been considered as having no consequence at all, as having no political but merely cultural consequences, or as producing political consequences that were opposite to the intentions of their actors. To these interpretations, which all account for the distance between the event and its consequences by means of completely disjointing the latter from the former, the article opposes two reflections on May ’68 – those by Alain Badiou and Jacques Rancière – that attempt to examine the consequences of the very immediacy of the politics practised by the actors of the events, a politics that operates at a distance from mediation, representation and postponement. Badiou and Rancière propose some similar conclusions, but also two very different ways of reading the immediacy of the event.

This article will offer an overview of the ever-changing relationship between the crime genre – understood as a global, transnational phenomenon – and European art cinema, with its national specificities. After a historical contextualization, this contribution focuses on the mode of production and circulation of contemporary European crime cinema by looking at two case studies of the contemporary national productions of Spain and Northern Ireland. The goal is to grasp the shifts occurring in this relationship, so understanding both the role played by the ‘auteur’ label in the distribution, commercialization, and appreciation of European crime cinema and how easily-marketable crime storylines promote the creation of new modes of authorship.

The terrorist attacks on American soil of 11 September 2001 have reminded people how easily they can be submitted to the will of the other. This article will analyse how literature, and more particularly post-9/11 literature, deals with a new world order where the self seems to have become subjected to terrorism, being today its potential victim rather than a subject. More precisely, how have American novelists dealt with the demise of the sovereign self after the attacks of 11 September 2001 and what is the role played by memory? Focusing on Falling Man (2007) by Don DeLillo, this article will demonstrate the importance of art and literature to fight against the demise of the sovereign self.