This book is an exploration of Plato’s Republic that bypasses arcane scholarly debates. Plato’s Fable provides refreshing insight into what, in Plato’s view, is the central problem of life: The mortal propensity to adopt defective ways of answering the question of how to live well.
How, in light of these tendencies, can humankind be saved? Joshua Mitchell discusses the question in unprecedented depth by examining one of the great books of Western civilization.
He draws us beyond the ancients/moderns debate, and beyond the notion that Plato’s Republic is best understood as shedding light on the promise of discursive democracy. Instead, Mitchell argues, the question that ought to preoccupy us today is neither “reason” nor “discourse,” but rather “imitation.” To what extent is man first and foremost an “imitative” being? This, Mitchell asserts, is the subtext of the great political and foreign policy debates of our times.
Plato’s Fable is not simply a work of textual exegesis. It is an attempt to move debates within political theory beyond their current location. Mitchell recovers insights about the depth of the problem of mortal imitation from Plato’s magnificent work, and seeks to explicate the meaning of Plato’s central claim — that “only philosophy can save us.”
Joshua Mitchell is professor of Government at Georgetown University, where he teaches the history of political thought.
THE BREAKDOWN: Joana Hadjithomas and Khalil Joreige discuss ‘Cedar IV, A Reconstitution’
Updated 26 February 2021
DUBAI: Through their 2011 installation, The Paris-based Lebanese duo reflect on their 2011 installation, inspired by the Lebanese Rocket Society from the 1960s.
Hadjithomas: It all started with my sister. She was researching Lebanese history and came across this story about rockets being launched from Lebanon (in the Sixties). It stayed in our minds. A few years later, we saw the stamp of the Cedar IV rocket, which was issued in 1964, and we thought it was really interesting.
Joreige: We wondered why such a positive project disappeared from our history and memory.
H: The Lebanese Rocket Society started in 1960 at Haigazian University. There was a professor — Manoug Manougian — who was really fond of rocketry. His students started making rockets and propellants at the university. The Lebanese Army joined in, but for Manoug and his students it was always an educational project — never a military one.
J: It wasn’t nationalistic either. Most of the people involved weren’t Lebanese — they came from all over the region. Through education, they were building peace.
H: They thought they were contributing to the space race — they were contemporary to the rest of the world, researching this fascination that people had for space. It’s about hope and dreams. So we felt that we should tell this story and find all the people that participated. That was not easy because they were scattered all around the world.
J: We had to think about different strategies of reactivating the past in the present.
H: So we rebuilt a rocket with the help of Sharjah Biennale and we offered it to Haigazian University. Reconstitution is a way of giving matter — reality — to our lost memories. That’s why it was important to redo the rocket exactly as it was. We chose Cedar IV because it was one of the most successful, but we didn’t put the Lebanese flag on it.
J: if you put a flag on it, it would become national and militaristic. By keeping it white, it’s a place of projection, a ghostly presence.
H: Today, it seems like a military missile but it’s not.
J: The UAE probe (which reached Mars on Feb. 9) is called “Hope.” When you are targeting another dimension, something you don’t know, it is always a question of hope.
H: Lebanon is very rich in its people, but we are hostages of people that are corrupt and think only about themselves. We were really happy for the UAE when “Hope” reached Mars, and I think the Lebanese reacted to it because they felt they should also be dreaming — and having the possibility to reconstruct and free themselves from those corrupt people.
The most prestigious venues in South Africa’s tourism capital have never been more affordable
Updated 26 February 2021
DUBAI: The silence atop Table Mountain on a cloudless afternoon in December is an experience only the COVID-19 pandemic could have brought.
As one of the most popular hikes (or cable-car rides, if you’d prefer an easier climb) in Cape Town, the summit is usually thronging with people wielding selfie sticks and smartphones whatever the day, leaving you jostling for a decent view of the famed Twelve Apostles to the left, and the sweeping city and harbor to the right. But on this Friday evening we find ourselves alone except for our guide and a peppy rock hyrax for company.
Naturally, South Africa’s tourism capital is a different place during the pandemic. Like elsewhere in the world, it’s largely devoid of international travellers. This is bad news for the country’s tourism industry, but a positive point if you’re one of the few choosing to head abroad.
The city’s top hotels are offering large discounts to entice travellers in. And Cape Town’s premier attractions — including its world-renowned restaurants — are easier to get into then ever.
South Africa opened its doors to tourists on November 1, but has since faced challenges in being perceived as a safe place to visit. In December, President Cyril Ramaphosa announced the country was in a second wave of infections, one that was crippling the hospital system. The South African variant of COVID-19 was also discovered. Flights into and out of the country were cancelled. Ramaphosa closed beaches and public parks and enforced a number of other restrictions in perceived hotspots — including Nelson Mandela Bay and the famous Garden Route. The move was another blow for the tourism industry there, which, after a tough lockdown period earlier in the year, was relying on the incoming flock of domestic tourists for the festive season.
Cape Town and the surrounding area escaped strict restrictions, however. Its beaches, as well as the sparkling white bays and the quirky towns dotted around Cape Peninsula (Hout Bay, Kalk Bay, Muizenberg etc) are humming with locals. It’s a relative hum, however, with only a few beachfront restaurants nearing capacity and a palpable air of uncertainty.
Wandering along Cape Town’s beachfront, you’ll be hard-pressed to hear a foreign accent. You can wander through Kirstenbosch Botanical Gardens and not see another face for long periods of time. On a hike up Table Mountain, you might only encounter a couple of other people on the same route. The uncrowded outdoors beckon.
Many of the hikes in the city (Lion’s Head is another must-do) seem easy enough, but are better attempted with a guide — both for safety and enjoyment. Most hotels will either have one on staff or will be able to arrange one for you. If you’re staying at the One and Only Cape Town, seek out David. He’s knowledgeable about hidden spots on the hike, as well as about the area’s fauna and flora, meaning your hike will be peppered with educational tidbits too.
One and Only Cape Town is a top choice if you’re looking to stay central — nestled in around the waterfront. Its affable army of staff positioned around the property at all times are vigilant about temperature checks and sanitization, and it’s a diverse enough hotel to mean you never have to leave if you’re nervous about mixing in crowds. A central island of resort-style rooms offer an escape to a tropical island in the middle of the city, surrounded by waterways where you can kayak or paddleboard.
The hotel is also home to Africa’s only Nobu restaurant. Given the freshness of the catch in this area of the world, it’s the perfect place to break up all your heavy game meals. Better yet, spend a rainy day trying a sushi masterclass and learn Nobu’s famous six-step nigiri method.
Best of all, the Western Cape’s world-famous restaurants don’t need to be booked months in advance at the moment. Even in the really touristy areas.
In Franschhoek, the picturesque valley filled with vineyards just north-east of Cape Town, a seat at one of the country’s premier restaurants has never been easier to come by. For instance, at Babylonstoren, arguably the region’s most popular spot, bookings for its restaurant Babel open nine months in advance, with its website recommending booking two or three months in advance. Now, you can book with less than 24-hours notice.
La Residence, Franschhoek’s most beautiful property (and a favorite of Sir Elton John), is a boutique option at the best of times, but now it seems almost as though it’s your own private mansion. The 30-acre estate is positioned on a hillock overlooking the village on one side and with lines of vines on the other, as emboldened peacocks wander around your room, and up to your table at breakfast time. One couple has booked in for 46 nights, which may be a bit much, but it’s hard to blame them, given the (relatively) bargain prices and lack of crowds.
If you’re willing and able to travel — and if the country’s borders are open again — this might be the best possible time to visit this dazzling city.
A Decade of Upheaval chronicles the surprising and dramatic political conflicts of a rural Chinese county over the course of the Cultural Revolution.
Drawing on an unprecedented range of sources — including work diaries, interviews, internal party documents, and military directives — Dong Guoqiang and Andrew Walder uncover a previously unimagined level of strife in the countryside that began with the Red Guard Movement in 1966 and continued unabated until the death of Mao Zedong in 1976.
Showing how the upheavals of the Cultural Revolution were not limited to urban areas, but reached far into isolated rural regions, Dong and Walder reveal that the intervention of military forces in 1967 encouraged factional divisions in Feng County because different branches of China’s armed forces took various sides in local disputes.
The authors also lay bare how the fortunes of local political groups were closely tethered to unpredictable shifts in the decisions of government authorities in Beijing, says a review on the Princeton University Press website. Eventually, a backlash against suppression and victimization grew in the early 1970s and resulted in active protests, which presaged the settling of scores against radical Maoism.
Saudi-British artistic collaboration explores Saudi Arabia’s past, future
Young artists received mentorship from prominent Saudi creator Manal Al-Dowayan
They were participants in Connect ME program, which fosters UK-Gulf artistic exchange
Updated 25 February 2021
LONDON: An upcoming artist from Saudi Arabia has revealed the results of his collaboration with a British counterpart, launching digital artwork that “seeks to recalibrate viewers’ perception of ‘the other’ culture.”
Riyadh-based Meshal Al-Obaidallah worked with artist Carolin Schnurrer to produce the work, called “FAREWELL ARABIA: A Bold New Vision,” as part of the Connect ME Digital Residency program run by the Arab British Centre.
The initiative pairs young artists from the Gulf with British counterparts to foster artistic collaboration, and to consider how digital tools can encourage connectivity across borders despite the challenges posed by the coronavirus pandemic.
As part of the program, the young artists received mentorship from prominent Saudi artist Manal Al-Dowayan.
The work by Al-Obaidallah and Schnurrer explores Saudi Arabia’s rapid development during the 20th century and how it changed society, as well as looking ahead at what the future might hold for the Kingdom.
“Through our exchange, we collected found footage, sound bites, quotes, symbols and other fragments,” said Al-Obaidallah.
“These re-appropriated fragments were processed, destroyed, accelerated, decelerated and rearranged,” he added, describing it as a “mishmash of fact and fiction.”
Eilidh Kennedy McLean, British Council country director for Saud Arabia, congratulated Al-Obaidallah on representing the Kingdom in the residency, saying: “It is an incredible, interesting time for artists to explore different mediums of collaborations to create and innovate despite the physical restrictions during COVID.”
Also selected to participate in the Connect ME program were Emirati artist Dina Khatib and British artist Ollie Cameron.
They collaborated to create a work that explores “how visualizing the unseen space between them could become a means for connection and exchange.”
All four artists and their mentor Al-Dowayan will host an online talk on March 3 to discuss the program and their creations in-depth.
Marc Jacobs, US model Hunter Schafer, film director Lee Daniels, DJ Richie Hawtin, and Dutch architect Rem Koolhaas will join the conversation virtually. The talk will be moderated by YouTube’s Derek Blasberg, who is a US journalist and author.
The collaboration between Prada and Simons was first announced last year.
The Italian has been the creative force behind one of the most successful luxury brands for 30 years, while Simons is considered to be one of the fashion world’s biggest talents.
His future has been the subject of intense speculation since he left Calvin Klein in 2018. He was previously creative director at Jil Sander and Dior. He also has his own label.