“Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew: Summary and Critique

“Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew first appeared in Thesis Eleven in 2012 (Vol. 108, Issue 1, pp. 44–65), published by Sage.

"Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates" by Terry Flew: Summary and Critique
Introduction: “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew

“Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew first appeared in Thesis Eleven in 2012 (Vol. 108, Issue 1, pp. 44–65), published by Sage. In this article, Flew re-evaluates Foucault’s 1978–79 Collège de France lectures—later published as The Birth of Biopolitics—to explore Foucault’s distinct approach to neoliberalism, not as a dominant ideology but as a historically contingent form of liberal governmental rationality. Flew emphasizes that Foucault’s reading of neoliberalism, particularly German ordoliberalism and the American Chicago School, is more analytical and less ideologically critical than the tone of many contemporary cultural and literary theorists. By situating neoliberalism within a genealogy of liberal government, Foucault shifts the terrain of critique from moral denunciation to an inquiry into how freedom is governed and produced. This reorientation has profound implications for literary and critical theory, especially as neoliberalism has become an all-purpose explanatory device in cultural studies. Flew critiques the tendency in some Marxist-Foucauldian syntheses (e.g., Dean, Brown, Miller) to retroactively attribute to Foucault their contemporary critiques of neoliberalism. Instead, Flew calls for a more nuanced engagement with neoliberalism’s institutional rationalities—raising questions about whether socialism can, or must, develop its own autonomous governmental rationality rather than relying on inherited ideological scripts. This makes the article a significant intervention in political theory, discourse analysis, and the theoretical debates shaping literary studies today.

Summary of “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew

🧠 1. Introduction: The Foucault-Neoliberalism Nexus

  • Contextual Basis:
    • Foucault’s 1978–79 lectures at the Collège de France were posthumously published as The Birth of Biopolitics.
    • These lectures are now central to contemporary analyses of neoliberalism.
  • Flew’s Central Concern:
    • There is a gap between Foucault’s original treatment of neoliberalism and how it is interpreted by modern theorists.
    • The term “neoliberalism” has become an overloaded and vague concept, often used ideologically rather than analytically.

🧩 2. Foucault’s Genealogical Method and Governmentality

  • Governmentality:
    • Refers to a form of governance that focuses on the “conduct of conduct”—how people are guided and self-regulate within systems of power.
  • Genealogy over Ideology:
    • Foucault doesn’t offer a moral or economic critique of neoliberalism.
    • Instead, he investigates how neoliberal rationalities emerge, particularly how liberalism reconfigures the role of the state.
  • Freedom as a Political Tool:
    • Neoliberal governmentality doesn’t oppose the state; rather, it uses statecraft to produce market conditions and individual entrepreneurial behavior.

🌍 3. Key Differences: German Ordoliberalism vs. American Neoliberalism

  • Ordoliberalism (Germany):
    • Post-war rationality: The state must actively create and maintain the market order.
    • It isn’t laissez-faire; instead, it’s a state-constructed market framework.
  • Chicago School (U.S.):
    • Extends economic logic into non-economic domains: crime, family, education, etc.
    • Views individuals as “entrepreneurs of the self”, optimizing their behavior through choice and competition.
  • Foucault’s Interpretation:
    • Both models are not reduced to ideological doctrines but studied as rationalities of governance.

📚 4. Contemporary Theoretical Appropriations of Foucault

  • Flew’s Critique:
    • Many critical theorists (e.g., Wendy Brown, Nikolas Rose) use Foucault to moralize or totalize neoliberalism.
    • These scholars retrofit their own ideological critiques into Foucault’s analytics of power.
  • Conceptual Inflation of “Neoliberalism”:
    • The term is now used ubiquitously and uncritically to explain everything from education reform to dating culture.
    • It risks becoming “the theory of everything”, which dilutes its analytical value.

🧾 5. Literary and Cultural Theory: Overreliance on Neoliberalism as Master Concept

  • Foucault vs. Cultural Theory:
    • Foucault avoided totalizing theories—his focus was always local, specific, and contingent.
    • Literary theory, especially post-structuralist and Marxist-influenced strands, tends to unify neoliberalism as a global system.
  • Problem of Moralism:
    • Theorists sometimes use neoliberalism as a moral whipping post, losing sight of how it actually operates institutionally.

🧱 6. Implications for Political Thought and Left Strategy

  • A New Socialist Rationality?:
    • Flew draws attention to Foucault’s idea that the Left must develop its own governmental rationality, not just critique the Right.
    • Socialism must be reimagined not just as anti-capitalism, but as a practical mode of governing freedom and life.
  • Practical Political Engagement:
    • Flew calls for a move away from cultural pessimism and symbolic politics toward a program of rational social governance.

📌 7. Conclusion: Reclaiming Foucault’s Analytical Nuance

  • Reframing the Debate:
    • Instead of using neoliberalism as a scapegoat, scholars should focus on how it structures action and subjectivity.
  • Flew’s Core Argument:
    • Foucault provides tools to understand neoliberalism without moralizing it.
    • Academic work must preserve Foucault’s method, not co-opt it for ideological ends.

Key Takeaways

  • Foucault’s approach to neoliberalism is diagnostic, not denunciatory.
  • Neoliberalism is better understood as a rationality of governance, not a monolithic ideology.
  • Many current theoretical treatments risk flattening Foucault’s insights by misusing neoliberalism as a catch-all critique.
  • The Left must develop constructive alternatives rather than simply critique.
Theoretical Terms/Concepts in “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew
🏷️ Term📘 Definition / Explanation🔍 In-text Citation (Flew, 2012)
Governmentality 🏛A form of governance focusing on “the conduct of conduct,” i.e., how individuals and populations are regulated through institutions, practices, and norms.“Foucault’s distinctive contribution… was to introduce the concept of ‘governmentality’” (p. 45)
Biopolitics 🧬A modern form of power concerned with managing life processes of populations — birth, health, mortality — often tied to regulatory institutions and state mechanisms.“The concern with biopolitics… was intimately connected to neoliberal governmentality” (p. 45)
Neoliberalism 💹A historically specific political rationality emphasizing competition, individual responsibility, and the market as the primary site of governance.“Neoliberalism should be understood not as an ideology… but as a political rationality” (p. 46)
Rationality of Government 🧩Systematic forms of reasoning about how to organize governance. Neoliberalism, in this sense, is a rationality that extends economic logic to all aspects of life.“Neoliberalism represents a rationality of government…” (p. 48)
Entrepreneur of the Self 🎯A subject who governs themselves using economic logic: maximizing personal utility, taking responsibility, and viewing life choices as investments.“Individuals are seen as entrepreneurs of themselves…” (p. 49)
Ordoliberalism 🧱A German neoliberal school focused on using strong state frameworks to ensure market competition, contrasting laissez-faire approaches.“German ordoliberalism… sought to create a strong regulatory framework for markets” (p. 50)
State-Crafted Market 🏛➕💹The market as a constructed domain, not a natural one — requiring state intervention to sustain competition and prevent monopolies.“The market must be actively constructed… through political authority” (p. 50)
Chicago School Economics 💼A U.S. neoliberal tradition emphasizing free markets and applying economic reasoning to all social domains (crime, family, education).“Foucault considered the American Chicago School as extending market logic beyond economics” (p. 51)
Critique vs. Diagnosis 📏Foucault preferred diagnosing how forms of power operate rather than offering moral or ideological critiques; Flew warns against moralizing neoliberalism.“Foucault’s method was… not to condemn neoliberalism… but to diagnose its rationality” (p. 54)
Genealogy 🔄Foucault’s method of tracing the historical development of ideas and institutions without assuming linear or universal truths.“Foucault’s genealogical method… focuses on the contingent formation of governmental rationalities” (p. 47)
Counter-Conduct 🧱🔄Forms of resistance to governmentality — not pure opposition, but ways of “conducting oneself differently” within power structures.“The concept of counter-conduct… emerges as part of the tension within governmentality” (p. 55)
Ideological Inflation 🚫📢The tendency in critical theory to overuse “neoliberalism” as a catch-all explanatory framework, leading to analytical vagueness.“There is a tendency to use neoliberalism as an all-purpose critique…” (p. 52)
Economic Subjectivity 📊Individuals internalizing market logic — seeing themselves as economic agents and modeling their identity on optimization, risk, and choice.“Neoliberalism… shapes how subjects think of themselves…” (p. 49)
Contribution of “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew to Literary Theory/Theories

🔍✖️ Theoretical Terms and Discourse Theory

Flew’s article strongly aligns with poststructuralist commitments by emphasizing Michel Foucault’s genealogical, non-essentialist method. He reinforces that Foucault approached neoliberalism not as a fixed ideological system, but as a discursively produced form of political reason. This has implications for literary theory, which often engages with power, language, and meaning as constructed rather than inherent.

“Foucault was not offering a critique of neoliberalism in terms of ideological error, or of inconsistency with a set of values or political principles. Rather, he was undertaking a genealogy of governmental rationalities” (Flew, 2012, p. 46).

By underscoring this, Flew calls literary theorists back to Foucault’s careful historicism and away from reductive ideological totalizations.


🧩📘 Foucauldian Literary Criticism

Flew critiques how many cultural theorists have co-opted Foucault’s ideas into broader ideological critiques, often moralizing neoliberalism in ways Foucault never intended. He contributes to Foucauldian literary theory by advocating a return to the diagnostic ethos of Foucault’s method.

“There has been a tendency within the cultural and literary theory literature to conflate neoliberalism with globalization, postmodernism or contemporary capitalism, and to view it as a form of ideology or cultural hegemony” (p. 52).

He warns that such conflations obscure Foucault’s original intention to study the specificity of how neoliberal reason governs subjects and spaces, urging literary critics to retain this precision.


⚒️📢 Ideology Critique and Marxist Literary Theory

Flew’s intervention challenges Marxist-influenced literary theorists who have absorbed neoliberalism into the apparatus of class critique. He finds this problematic, because it universalizes neoliberalism as an ideology instead of understanding it as a contingent political rationality.

“There is a tendency in contemporary theory to inflate the concept of neoliberalism to account for almost all developments in the contemporary world… making it difficult to identify what is specific about neoliberalism as a form of political rationality” (p. 52).

This has implications for how literature is analyzed in terms of class and ideology: Flew suggests such analysis needs to attend to the micro-level operations of power, not only macro-economic structures.


🎯⚖️ Subjectivity in Literary and Cultural Theory

One of Flew’s most direct contributions to literary theory lies in how he emphasizes Foucault’s concept of the “entrepreneur of the self”—a mode of subjectivity formed through neoliberal discourses. This is vital for literary analysis, where characters and narratives can be read through the lens of how economic rationalities shape identity.

“Neoliberalism encourages individuals to relate to themselves as entrepreneurs of themselves, and to see their lives in terms of investment, cost–benefit calculation and performance outcomes” (p. 49).

This offers a powerful tool for interpreting contemporary literary texts, particularly those dealing with themes of labor, education, self-help, or identity in capitalist societies.


🏛️📝 Institutional Critique and Literary Academia

Flew turns a critical eye toward the practices of literary and cultural theory itself, suggesting that the academy often engages in symbolic forms of critique against neoliberalism without offering constructive alternatives. This has consequences for the institutional framing of literary studies.

“The challenge… is whether socialism can become an art of government… rather than simply existing in critique of existing forms of governmentality” (p. 56).

Flew’s challenge encourages literary theorists to consider how their field might not only critique power but also participate in imagining and structuring alternative social orders.


📚🗳️ Rethinking Literary Political Engagement

Finally, Flew’s work invites literary theorists to move beyond negative critique toward constructive political imaginaries. Literature, in this framing, becomes not merely a site of resistance but a space to reimagine the governance of freedom, life, and possibility.

“Critique alone is insufficient… there is a need to think how freedom can be governed differently” (p. 56).

Rather than invoking neoliberalism as a force to be endlessly opposed, Flew urges scholars to ask: what alternative forms of governance, subjectivity, and political engagement can literary theory help articulate?

Examples of Critiques Through “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew

📘 Novel🧠 Foucauldian-Neoliberal Critique via Flew
Kazuo Ishiguro – Never Let Me Go 🧬🎯The novel’s clone protagonists are engineered for organ harvesting, but internalize their fates without resistance. Through Flew’s lens, this reflects neoliberal biopolitics and the entrepreneurial subject, where human life is rendered biological capital, and subjects self-govern by quietly accepting commodified existence. As Flew writes: “Neoliberalism encourages individuals to relate to themselves as entrepreneurs of themselves…” (p. 49).
Dave Eggers – The Circle 💼🎯📏This novel critiques Silicon Valley techno-corporate culture as a manifestation of Chicago School neoliberalism, where personal lives are transformed into data-driven performance metrics. Mae, the protagonist, self-disciplines and optimizes her behavior in line with digital corporate norms. Flew’s emphasis on diagnosing neoliberal subjectivity, rather than simply opposing it, allows deeper insight into Mae’s complicity: “Critique alone is insufficient…” (p. 56).
Ian McEwan – Saturday 🧩🏛🧱McEwan’s neurosurgeon protagonist embodies liberal individualism and governmental rationality, viewing politics through the lens of risk, security, and self-control. The novel mirrors Flew’s discussion of how ordoliberalism uses the state to maintain a regulated order for elite freedom: “Ordoliberalism sought to create a strong regulatory framework for markets” (p. 50). The protagonist’s politics reflect a belief in “managed freedom.”
Zadie Smith – NW 🎯⚖🧱🔄Smith’s London novel explores post-welfare urban life, where characters experience fragmented subjectivities and are urged to self-manage amidst precarity. Leah, Natalie, and Felix all encounter neoliberal counter-conduct: resistance through failure, withdrawal, or alternate social logics. Flew’s emphasis on subjectivity under neoliberal governmentality opens readings of these characters as navigating not ideology, but regulatory power: “Subjects are governed through a range of rationalities…” (p. 45).
Criticism Against “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew

️ 1. Underplaying the Structural Power of Capitalism

Criticism:
Flew downplays material and structural analyses of neoliberalism—particularly from a Marxist perspective—in favor of a narrowly Foucauldian “governmentality” approach.

  • Critics argue that Flew’s reading avoids confronting the economic violence, dispossession, and exploitation that neoliberalism imposes on global and racialized populations.
  • While Flew warns against “inflationary uses” of the term neoliberalism, his alternative flattens the political stakes by treating it too neutrally—as merely a “rationality.”

Example critique:

Scholars such as David Harvey or Nancy Fraser may argue that Flew’s focus on “governmentality” evacuates class analysis and treats neoliberalism more as a discourse than a political-economic system with material consequences.


🧩 2. Over-Defensive of Foucault’s Neutrality

Criticism:
Flew insists on Foucault’s neutrality or non-normative stance toward neoliberalism, but this might be overstated. Foucault’s tone in The Birth of Biopolitics is complex and at times ambiguous—perhaps even open to strategic sympathy—but not without critique.

  • Some scholars suggest that Flew’s defense of Foucault leads to an uncritical idealization of Foucault’s methodological detachment.
  • Others propose that Foucault’s later work includes implied critiques of neoliberalism’s implications for ethics, democracy, and subjectivity.

Related view:

“Flew’s claim that Foucault was simply ‘diagnosing’ rather than critiquing neoliberalism risks exonerating Foucault from his own political responsibility as a thinker engaging with real systems of domination.”


🗣️ 3. Mischaracterizing Cultural Theory’s Use of Neoliberalism

Criticism:
Flew argues that cultural and literary theorists indiscriminately use neoliberalism as an all-purpose critique. However, this claim itself risks straw-manning a rich field of scholarship.

  • Many theorists (e.g. Wendy Brown, Lauren Berlant, Lisa Duggan) have developed nuanced and historically grounded accounts of neoliberalism’s impact on gender, race, affect, and culture.
  • To accuse them of “conceptual inflation” without engaging their specific arguments may be dismissive.

In response:

One might say Flew is “calling out” the theoretical field without fully engaging with its complexity or variety, especially feminist, postcolonial, and queer interpretations of neoliberalism.


🧱 4. Neglect of Global and Postcolonial Dimensions

Criticism:
Flew’s analysis is largely centered on Western Europe and North America (Germany, France, Chicago School), following Foucault’s own limitations. He does not account for how neoliberalism functions globally, especially in the Global South.

  • There is no serious engagement with how neoliberal rationalities operate through postcolonial governance, IMF/World Bank reforms, or structural adjustment programs.
  • This risks reinforcing a Eurocentric model of power while ignoring the racialized and colonial genealogy of neoliberal violence.

Scholarly angle:

Postcolonial theorists like Achille Mbembe or Aihwa Ong could critique Flew for continuing a Western-centric framework that erases colonial continuities in neoliberal rule.


📏 5. Absence of Ethical and Political Alternatives

Criticism:
Although Flew criticizes the Left for offering only critique without proposing a “new art of government,” he fails to elaborate what this alternative might look like.

  • His call for the Left to develop its own rationality of government sounds promising, but remains vague and abstract.
  • It is unclear whether Flew supports social democracy, market socialism, radical democracy, or another vision.

Implication:

Critics might say that Flew positions himself as a centrist referee, identifying faults in others’ arguments without clearly taking a stance of his own.


🎭 6. Theoretical Conservatism and Minimization of Resistance

Criticism:
Flew tends to minimize the potential for counter-conduct, resistance, or radical subjectivities in contemporary culture and literature.

  • By focusing on rationalities of governance, he may sideline more messy, affective, or artistic forms of refusal, which literary theorists find central.
  • His caution toward moral critique might suppress the transformative or insurgent power of literary and cultural forms.

Interpretation:

From this view, Flew’s approach seems more aligned with institutional critique and policy-oriented theory, and less with radical or imaginative praxis.


Representative Quotations from “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew with Explanation
QuotationPageExplanation
“Neo-liberalism has become one of the boom concepts of our time.”44This opening statement highlights the explosive growth in the use of the term “neo-liberalism” in academic discourse, particularly in the 2000s. Flew notes its transformation from a specific economic concept to a broad, often vague, critique of various social, cultural, and political phenomena, setting the stage for examining Foucault’s more nuanced historical approach.
“Foucault did not understand neo-liberalism as a dominant ideology in these lectures, but rather as marking a point of inflection in the historical evolution of liberal political philosophies of government.”44Flew emphasizes that Foucault’s analysis in The Birth of Biopolitics treats neo-liberalism as a shift within liberal governmentality, not as a monolithic ideology. This contrasts with later critics who often portray it as a hegemonic force, highlighting Foucault’s focus on its historical and governmental specificity.
“The term is effectively used in different ways, such that its appearance in any given article offers little clue as to what it actually means.”45Quoting Boas and Gans-Morse, Flew critiques the ambiguous and varied applications of “neo-liberalism” in academic literature. This underscores the need for a clearer understanding, which Foucault’s lectures provide by grounding neo-liberalism in specific governmental practices rather than as a catch-all term.
“Neo-liberalism is not Adam Smith; neo-liberalism is not market society; neo-liberalism is not the Gulag on the insidious scale of capitalism.”47 (quoting Foucault 2008: 131)Foucault rejects simplistic reductions of neo-liberalism to classical liberalism or oppressive capitalist structures. Flew uses this to illustrate Foucault’s effort to distinguish neo-liberalism as a distinct governmental rationality, challenging Marxist interpretations that conflate it with traditional capitalism.
“The market constitutes a site of veridiction . . . for governmental practice.”50 (quoting Foucault 2008: 32)This quote captures Foucault’s concept of the market as a mechanism for assessing the truth or efficacy of governmental actions in liberal thought. Flew highlights how this shift from raison d’état to market-based truth marks a key feature of liberal and neo-liberal governmentality.
“The new art of government appears as the management of freedom . . . Liberalism must produce freedom, but this very act entails the establishment of limitations, controls, forms of coercion, and obligations relying on threats.”51 (quoting Foucault 2008: 63–4)Foucault’s paradox of liberalism is central here: it requires freedom to function but must also produce and regulate it, leading to new forms of control. Flew uses this to show how neo-liberalism extends this dynamic, redefining freedom through market competition and enterprise.
“The society regulated by reference to the market that the neo-liberals are thinking about is . . . an enterprise society.”56 (quoting Foucault 2008: 147)This quotation reflects Foucault’s analysis of neo-liberalism’s shift from a society based on commodity exchange to one driven by competition and enterprise. Flew uses it to illustrate how neo-liberalism reorients social relations around the model of the entrepreneur, a key departure from classical liberalism.
“American neo-liberalism . . . sought ‘the generalisation of the economic form of the market . . . throughout the social body’.”58 (quoting Foucault 2008: 243)Flew highlights Foucault’s observation that American neo-liberalism, unlike German ordoliberalism, applies market principles to all aspects of social life, including non-economic domains like crime and family. This radical extension underscores its distinctiveness and influence.
“Foucault is quite explicit about the political stake entailed in the two problematics . . . we have a capitalism that can be subject to significant economic-institutional transformations.”60 (quoting Foucault 2008: 164–5)This quote contrasts the Marxist view of capitalism’s singular logic with the Weberian perspective adopted by ordoliberals and Foucault, which sees capitalism as adaptable through institutional reforms. Flew uses this to argue for Foucault’s alignment with comparative political economy over Marxist critiques.
“What would really be the governmentality appropriate to socialism? . . . It must be invented.”59 (quoting Foucault 2008: 94)Foucault’s challenge to socialism’s lack of a distinct governmental rationality is a key point for Flew. It underscores Foucault’s critique of socialism’s reliance on textual conformity and his call for innovative governmental practices, contrasting with neo-liberalism’s adaptability.
Suggested Readings: “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates” by Terry Flew
  1. Flew, Terry. “Michel Foucault’s The Birth of Biopolitics and contemporary neo-liberalism debates.” Thesis Eleven 108.1 (2012): 44-65.
  2. Tierney, Thomas F. “Toward an Affirmative Biopolitics.” Sociological Theory, vol. 34, no. 4, 2016, pp. 358–81. JSTOR, http://www.jstor.org/stable/26382876. Accessed 30 July 2025.

“Dear Auld Scotland” by Charles Nicol: A Critical Analysis

“Dear Auld Scotland” by Charles Nicol first appeared in the late nineteenth century, with its earliest known publication recorded in The People’s Friend collection around 1885, a Scottish periodical renowned for promoting local poets and national sentiment.

"Dear Auld Scotland" by Charles Nicol: A Critical Analysis
Introduction: “Dear Auld Scotland” by Charles Nicol

“Dear Auld Scotland” by Charles Nicol first appeared in the late nineteenth century, with its earliest known publication recorded in The People’s Friend collection around 1885, a Scottish periodical renowned for promoting local poets and national sentiment. The poem is a heartfelt tribute to Scotland’s rugged landscapes, storied history, and enduring cultural symbols. Nicol evokes vivid imagery of Scotland’s hills, mountains, and sparkling waters, blending natural beauty with national pride. He recalls legendary figures like Wallace, Bruce, and the Black Douglas—heroes who symbolize Scotland’s struggle for freedom and identity. This nostalgia, combined with an unshakeable affection for his homeland, even in exile, forms the poem’s main ideas. Its popularity lies in its accessible language, emotional sincerity, and celebration of Scottish heritage, making it resonate deeply with readers who share the poet’s longing and pride. As seen in lines such as “Scotland my native land so fair” and “however far that it may be, / Thro’ all the places that I roam, / Scotland will still be dear to me,” Nicol’s verse encapsulates both personal and collective memory, ensuring its enduring appeal among lovers of Scottish literature.

Text: Introduction: “Dear Auld Scotland” by Charles Nicol

Scotland my native land so fair
   Thy hills an’ mountains I adore,
Thy scenery is grand an’ rare,
   An’ brings to min’ the days of yore.

To gaze upon the sparkling fountains
   An’ see the waters flowing there
Then upon the lofty mountains,
   Few kingdoms can with thee compare.

Where is the country you can name,
   Can boast of such warriors brave,
Who fought to gain their country fame
   From the cradle to the grave.

Such men as Wallace brave an’ true,
   An’ Bruce the hero of Bannockburn,
Aye, an’ the brave Black Douglas too,
   For these auld Scotland oft did mourn.

Oh, Scotland fair. Land of the free,
   Where we’ve got the Thistle so dear,
Likewise the Lily, the Hawthorn Tree,
   An’ the sparkling water so clear.

An’ tho’ I yet may be from home,
   However far that it may be,
Thro’ all the places that I roam,
   Scotland will still be dear to me.

Annotations: “Dear Auld Scotland” by Charles Nicol
StanzaSimple AnnotationLiterary Devices
1 Scotland my native land so fair…days of yore.The poet calls Scotland his beautiful homeland, loving its hills and mountains. The scenery reminds him of the past.– Imagery 🌄- Personification (“Scotland my native land so fair”)- Nostalgia ⏳
2 To gaze upon the sparkling fountains…with thee compare.He enjoys seeing the clear, sparkling fountains and high mountains. He feels few countries are as beautiful as Scotland.– Visual imagery 💧🏔- Hyperbole (“Few kingdoms can with thee compare”)
3 Where is the country you can name…cradle to the grave.He wonders if any other country has such brave warriors, who fought for Scotland’s honor their whole lives.– Rhetorical question- Alliteration (“country…can…name”)- Hyperbole🛡️🏆
4 Such men as Wallace brave an’ true…oft did mourn.He names heroes like Wallace, Bruce, and Black Douglas, saying Scotland has mourned their loss.– Allusion (historical heroes) ⚔️- Repetition (“brave”)- Enjambment😢
5 Oh, Scotland fair. Land of the free…water so clear.Scotland is praised as a free land. He mentions the Thistle, Lily, Hawthorn, and pure water as symbols of Scotland.– Symbolism (plants) 🪻🌸🌳- Enumeration (listing)- Visual imagery 💧
6 An’ tho’ I yet may be from home…dear to me.Even if he is far from home, Scotland is always dear to him no matter where he travels.– Repetition (“dear”)- Contrast (“from home…far” vs. “dear to me”)- End rhyme 🌍❤️
Literary And Poetic Devices: “Dear Auld Scotland” by Charles Nicol
DeviceExample from PoemDetailed Explanation
1. Alliteration 🅰️“country you can name / Can boast”The repetition of the “c” sound emphasizes the line, making it more musical and memorable.
2. Allusion 📜“Wallace brave an’ true, / An’ Bruce the hero of Bannockburn”Reference to famous Scottish heroes, adding historical and cultural depth.
3. Anaphora 🔁“An’ brings…An’ see…An’ Bruce…An’ the brave…”Repetition of “An’” at line starts creates rhythm and emphasis.
4. Assonance 🎶“Thy hills an’ mountains I adore”Repeated “i” sound produces musical quality and flow.
5. Contrast ⚖️“Tho’ I yet may be from home…Scotland will still be dear to me”Juxtaposes distance with enduring love for Scotland, highlighting loyalty.
6. End Rhyme 🔚“fair/yore / there/compare”Rhyming of words at line ends adds structure, cohesion, and musicality.
7. Enumeration 🧮“Thistle…Lily…Hawthorn Tree”Listing elements stresses the richness and variety of Scottish nature.
8. Enjambment ➡️“Such men as Wallace brave an’ true, / An’ Bruce the hero of Bannockburn, / Aye, an’ the brave Black Douglas too, / For these auld Scotland oft did mourn.”The sentence continues beyond the line, creating flow and urgency.
9. Epiphora 🔄“to me…to me” (repetition at end of lines)Repetition at the end of lines for emphasis and emotional resonance.
10. Hyperbole 🤯“Few kingdoms can with thee compare.”Exaggeration highlights Scotland’s uniqueness and beauty.
11. Imagery 🌄“Thy hills an’ mountains I adore”Vivid descriptions appeal to the senses, helping the reader picture Scotland’s landscape.
12. Metaphor 🪞“Land of the free”Scotland is compared to freedom itself, expressing pride and identity.
13. Nostalgia“brings to min’ the days of yore”Expresses longing for the past, creating a sentimental tone.
14. Personification 👤“Scotland my native land so fair”Scotland is addressed as if it were a beloved person.
15. Repetition 🔂“dear…dear” / “An’…An’”Words or phrases are repeated for emphasis and to reinforce ideas.
16. Rhetorical Question“Where is the country you can name, / Can boast of such warriors brave”A question not meant to be answered, but to make a point and inspire pride.
17. Symbolism 🪻“Thistle…Lily…Hawthorn Tree”These plants represent Scotland’s heritage and national identity.
18. Synecdoche 🦶“warriors brave” (representing the nation’s people)A part (“warriors”) stands for the whole country or spirit.
19. Tone 🎭“Oh, Scotland fair. Land of the free…”The poem’s mood is patriotic, affectionate, and admiring.
20. Visual Imagery 👀“sparkling fountains…waters flowing…lofty mountains”Strong visual images evoke the beauty and grandeur of Scotland’s landscape.
Themes: “Dear Auld Scotland” by Charles Nicol

1. Love of Homeland 🌄: Deeply embedded in “Dear Auld Scotland” by Charles Nicol is the poet’s abiding love for his homeland, a sentiment that transcends mere nostalgia and is intricately woven into every stanza, as he declares, “Scotland my native land so fair, / Thy hills an’ mountains I adore.” This fervent affection for Scotland’s natural beauty is further illuminated through his praise of “grand an’ rare” scenery, which “brings to min’ the days of yore,” allowing readers to perceive how personal and collective memory are evoked simultaneously, fusing landscape with identity. The recurring adoration for Scotland’s physical features, symbolized by 🌄, serves as a testament to the land’s central place in the poet’s heart and mind, regardless of where he may roam.


2. National Pride and Heroism ⚔️: Throughout “Dear Auld Scotland” by Charles Nicol, national pride and the celebration of heroic figures are foregrounded as the poet extols the courage and legacy of Scotland’s warriors, especially when he asks, “Where is the country you can name, / Can boast of such warriors brave, / Who fought to gain their country fame / From the cradle to the grave.” By referencing iconic historical leaders—“Such men as Wallace brave an’ true, / An’ Bruce the hero of Bannockburn, / Aye, an’ the brave Black Douglas too”—Nicol does not merely recount history but elevates these individuals into enduring symbols (⚔️) of the Scottish spirit, forging an unbreakable link between the nation’s storied past and its continuing sense of identity and unity.


3. Nature as Heritage 🪻: Nature, in “Dear Auld Scotland” by Charles Nicol, emerges as more than a backdrop; it is an intrinsic part of Scottish identity and heritage, reflected in the poet’s reverent listing of native flora and landmarks: “Where we’ve got the Thistle so dear, / Likewise the Lily, the Hawthorn Tree, / An’ the sparkling water so clear.” These natural elements, represented by 🪻, are not simply aesthetic details but potent emblems of home, freedom, and resilience, reinforcing the notion that the Scottish landscape is inseparable from its people’s collective memory and cultural pride, while the clear waters and iconic plants further deepen the sense of belonging and distinction.


4. Enduring Attachment and Exile 🌍❤️: Perhaps most poignantly, “Dear Auld Scotland” by Charles Nicol explores the theme of enduring attachment amid physical separation, as the speaker reflects, “An’ tho’ I yet may be from home, / However far that it may be, / Thro’ all the places that I roam, / Scotland will still be dear to me.” Here, the complex interplay between absence and emotional presence is brought to the fore, suggesting that the love for one’s homeland (🌍❤️) persists undiminished by distance; instead, memories and affection travel with the poet, binding him to Scotland regardless of where life takes him, thus highlighting the universal experience of longing and unbroken connection to home.

Literary Theories and “Dear Auld Scotland” by Charles Nicol
Literary TheoryAnalysis of “Dear Auld Scotland” by Charles Nicol
1. Formalism 📚Examining the poem through a formalist lens highlights Nicol’s use of rhyme, repetition, and vivid imagery, such as “Thy hills an’ mountains I adore” and “sparkling fountains…waters flowing.” The structure, musicality, and figurative language (like personification and end rhyme) are central to how meaning is shaped and emotional resonance achieved, independent of outside context.
2. New Historicism 🏰Through the new historicist perspective, “Dear Auld Scotland” becomes a reflection of late nineteenth-century Scottish nationalism and identity, as seen in the mention of historical figures: “Wallace brave an’ true, / An’ Bruce the hero of Bannockburn.” These references root the poem within a specific socio-political era, revealing attitudes toward heritage, resistance, and memory.
3. Psychoanalytic Theory 🧠A psychoanalytic approach uncovers the poem’s exploration of longing and attachment, with lines like “An’ tho’ I yet may be from home…Scotland will still be dear to me” suggesting subconscious desires for belonging, security, and the emotional weight of nostalgia and exile, revealing the poet’s inner emotional landscape.
4. Ecocriticism 🍃Through ecocriticism, the poem’s celebration of Scotland’s natural world—“Thistle so dear, / Likewise the Lily, the Hawthorn Tree, / An’ the sparkling water so clear”—underscores the interconnectedness between landscape and identity, portraying nature not just as setting, but as an essential part of Scottish culture and memory.
Critical Questions about “Dear Auld Scotland” by Charles Nicol

1. 🌄 How does the poem use the Scottish landscape to construct national identity?

In “Dear Auld Scotland” by Charles Nicol, the poet intricately fuses Scotland’s landscape with national identity, utilizing imagery of “hills an’ mountains,” “sparkling fountains,” and “lofty mountains” to position the nation’s natural beauty as both a source of pride and a defining characteristic of Scottishness. By repeatedly expressing adoration for these features—“Thy hills an’ mountains I adore”—Nicol ensures that the land itself becomes a character within the national narrative, suggesting that the Scottish people are shaped as much by their environment as by their history or traditions. Thus, landscape emerges not simply as backdrop but as an enduring symbol of collective memory and identity.


2. ️ In what ways does the poem celebrate Scottish heroism and historical memory?

Through deliberate references to legendary figures such as Wallace, Bruce, and the Black Douglas, “Dear Auld Scotland” by Charles Nicol does more than recount the deeds of the past; it elevates these heroes to the status of national icons whose courage is woven into the fabric of Scottish memory. By asserting, “Such men as Wallace brave an’ true, / An’ Bruce the hero of Bannockburn, / Aye, an’ the brave Black Douglas too,” Nicol not only commemorates their sacrifices but positions them as models for future generations, suggesting that the spirit of resistance and bravery persists as a cornerstone of Scottish identity. The poem’s rhetorical question, “Where is the country you can name, / Can boast of such warriors brave,” serves both to honor the past and to inspire pride in readers.


3. 🪻 How does Nicol use symbolism to evoke emotion and meaning?

In “Dear Auld Scotland” by Charles Nicol, symbolism is wielded masterfully to evoke both emotion and meaning, particularly through references to native flora like the “Thistle so dear, / Likewise the Lily, the Hawthorn Tree.” These elements, far from being simple botanical details, stand as emblems of Scotland’s unique culture, resilience, and heritage. By interweaving these symbols with broader themes of freedom—“Oh, Scotland fair. Land of the free”—Nicol invokes a sense of pride, belonging, and nostalgia, connecting personal memory to a collective cultural consciousness and ensuring that each flower or natural element is imbued with profound significance.


4. 🌍❤️ What role does longing and exile play in the emotional impact of the poem?

Longing and exile, captured so poignantly in the closing lines of “Dear Auld Scotland” by Charles Nicol, amplify the emotional resonance of the poem, as the speaker confides, “An’ tho’ I yet may be from home, / However far that it may be, / Thro’ all the places that I roam, / Scotland will still be dear to me.” This persistent attachment, undiminished by physical distance, suggests that the homeland’s presence is not contingent upon geography but is instead internalized within the heart and memory of the exile. Through such expressions, Nicol universalizes the experience of longing, demonstrating how love for one’s homeland endures, providing comfort, identity, and hope even when one is far removed from its shores.

Literary Works Similar to “Dear Auld Scotland” by Charles Nicol
  1. “My Heart’s in the Highlands” by Robert Burns
    Like Nicol’s poem, Burns expresses deep longing and love for Scotland’s landscapes and homeland, especially while living away from it.
  2. “Scots Wha Hae” by Robert Burns
    This poem, like Nicol’s, invokes Scottish national pride and honors the bravery of Scottish heroes such as Bruce, connecting the land with the legacy of freedom.
  3. “The Ghost of Fadon” by Joanna Baillie
    Baillie’s poem, like Nicol’s, is a heartfelt tribute to the poet’s homeland, reflecting a powerful sense of belonging and identity.
  4. “The Land o’ the Leal” by Lady Carolina Nairne
    This poem, although often interpreted metaphorically, echoes themes of home, longing, and an abiding connection to the Scottish landscape and spirit.
Representative Quotations of “Dear Auld Scotland” by Charles Nicol
QuotationContextual InterpretationTheoretical Perspective
“Scotland my native land so fair” 🌄The poet begins with an expression of deep affection and pride in his homeland.Formalism: Focus on emotional tone and direct address to Scotland.
“Thy hills an’ mountains I adore” 🏔He admires Scotland’s distinctive landscape, establishing nature’s importance.Ecocriticism: Highlights the centrality of landscape in national identity.
“An’ brings to min’ the days of yore” ⏳The poem is steeped in nostalgia, remembering Scotland’s storied past.Psychoanalytic Theory: Examines longing and the role of memory.
“Few kingdoms can with thee compare” 🏆The poet asserts Scotland’s uniqueness and superiority among nations.Nationalism: Explores constructs of national pride and cultural distinction.
“Who fought to gain their country fame / From the cradle to the grave” ⚔️Honors Scotland’s warriors and the lifelong nature of their sacrifice.New Historicism: Interprets historical legacy and collective memory.
“Such men as Wallace brave an’ true, / An’ Bruce the hero of Bannockburn” 🏰References to iconic Scottish heroes anchor the poem in history.Intertextuality: Relates poem to national epics and cultural myths.
“Oh, Scotland fair. Land of the free” 🕊️Scotland is depicted as a land of liberty, reinforcing ideals of freedom.Political Criticism: Addresses themes of liberty and self-determination.
“Where we’ve got the Thistle so dear, / Likewise the Lily, the Hawthorn Tree” 🪻Native plants symbolize Scottish heritage and cultural identity.Symbolism: Analyzes emblems of identity and collective memory.
“An’ tho’ I yet may be from home, / However far that it may be” 🌍The poet reveals personal exile and the pain of distance from Scotland.Diaspora Studies: Explores displacement, longing, and homeland connection.
“Scotland will still be dear to me” ❤️Affirms enduring love and attachment to Scotland, regardless of distance.Reader-Response Theory: Invites readers’ own feelings of longing and belonging.
Suggested Readings: “Dear Auld Scotland” by Charles Nicol
  1. Nicol, C. (n.d.). Dear Auld Scotland. In Scottish Poetry Selection. Rampant Scotland. https://www.rampantscotland.com/poetry/blpoems_nicol.htm
  2. Nicol, C. (1900). Poems and Songs: Chiefly in the Scottish Dialect. Author. https://books.google.com/books/about/Poems_and_Songs_Chiefly_in_the_Scottish.html?id=w7kQAAAAYAAJ

“Foucault, biopolitics and the birth of neoliberalism” by Michael A. Peters: Summary and Critique

“Foucault, biopolitics and the birth of neoliberalism” by Michael A. Peters first appeared in Critical Studies in Education in 2007 (Vol. 48, No. 2, pp. 165–178), and was published online by Routledge on May 13, 2008.

"Foucault, biopolitics and the birth of neoliberalism" by Michael A. Peters: Summary and Critique
“Foucault, biopolitics and the birth of neoliberalism” by Michael A. Peters

“Foucault, biopolitics and the birth of neoliberalism” by Michael A. Peters first appeared in Critical Studies in Education in 2007 (Vol. 48, No. 2, pp. 165–178), and was published online by Routledge on May 13, 2008. This pivotal article examines Michel Foucault’s late-1970s lectures on governmentality—particularly his analysis of German ordoliberalism and the emergence of the “social market economy”—and how these ideas influenced the broader trajectory of neoliberalism. Peters highlights Foucault’s shift from disciplinary regimes to biopolitics, marking a new phase in which liberalism governs not only institutions but also individual subjectivity through economic rationality. Central to Foucault’s insight is the link between the governance of the self and the governance of populations—a critical concept that challenges both Marxist and classical liberal accounts of power and knowledge. Peters situates this analysis within Foucault’s genealogical method, emphasizing how modern political reason, particularly in the context of post-war Germany, shaped neoliberal thought by embedding market logics within legal and social frameworks. The article is significant in the fields of literature and literary theory for its demonstration of how economic ideologies permeate discursive practices and subject formation, extending Foucault’s influence beyond philosophy into cultural and educational studies. Peters’ work thereby underscores the enduring relevance of governmentality studies for understanding the cultural conditions of neoliberalism and their implications for literary and critical theory.

Summary of “Foucault, biopolitics and the birth of neoliberalism” by Michael A. Peters

1. Foucault’s Shift to Governmentality and Biopolitics

  • Foucault’s work in the late 1970s marked a shift from analyzing disciplinary institutions to studying governmentality—the “conduct of conduct” at the intersection of knowledge, power, and subjectivity.
  • He rejected both Marxist notions of “knowledge as ideology” and classical liberal ideas of disinterested truth, instead focusing on how “practices of knowledge” are “produced through the relations of power” and help shape subjectivity (Peters, 2007, p. 166).
  • “Power is exercised only over free subjects, and only insofar as they are free.” (Foucault, 1982, p. 221, cited in Peters, 2007, p. 165)

2. The Link Between Government of the Self and of the State

  • One of Foucault’s central insights is that liberal governance works through the alignment of self-governance with state sovereignty.
  • “Liberal modes of governing… utilize the capacities of free acting subjects” and depend on specific definitions of freedom (Peters, 2007, p. 165).
  • This insight underpins Foucault’s analysis of biopolitics—the management of populations through political and economic rationalities.

3. Origins of Biopolitical Government: From Family to State

  • The emergence of modern government is traced to the 16th century, where “the art of government” first aligned with managing the economy of the household (oikos).
  • Rousseau later echoed this in his Discourse on Political Economy, where “the government of the state is modeled on the management… of the family” (Peters, 2007, p. 166).
  • Biopolitics focuses on “treating the population as a mass of living and co-existing beings” (Foucault, 1989, p. 106, cited in Peters, 2007, p. 167).

4. German Neoliberalism and the Ordoliberal Tradition

  • Foucault devotes significant attention to German ordoliberalism, especially the Freiburg School (Eucken, Böhm, Müller-Armack), as foundational to post-war German economic policy.
  • Ordoliberals advocated for a strong legal-juridical framework to secure market competition and social equity through the “social market economy” (Peters, 2007, pp. 169–170).
  • “The social market economy was devised as an economic system combining market freedom with social equilibrium” (Peters, 2007, p. 169).

5. Distinguishing Neoliberalism from Classical Liberalism

  • Foucault differentiates neoliberalism by its emphasis on knowledge of how to govern globally through the market economy (Peters, 2007, p. 170).
  • The “theory of pure competition” was central to this transformation, where market mechanisms regulated society (Peters, 2007, p. 170).
  • The neoliberal subject becomes homo economicus—rational, self-regulating, and entrepreneurial.

6. Critique of State Power and the Rise of ‘State-Phobia’

  • Foucault situates German neoliberalism in the post-Nazi context of “state-phobia”, which extended into critiques of Keynesianism, the New Deal, and the British welfare state (Peters, 2007, pp. 168–169).
  • German neoliberals saw these statist approaches as threats to individual freedom and market function.

7. Ethical Foundations of Market Order in Freiburg School

  • The Freiburg school regarded the market as “an ethical order” that must be protected from monopolies and state intervention (Vanberg, 2004, cited in Peters, 2007, p. 170).
  • In contrast, Müller-Armack viewed the market as a technical instrument requiring ethical supplementation through “social policies” (Peters, 2007, p. 170).

8. Legal Order and the Concept of Economic Constitution

  • Central to ordoliberal thought is the idea of Ordnung (order), or the legal-economic structure necessary for a free market to function ethically.
  • Foucault highlights that “one improves the economy by improving the economic constitution or the institutional framework” (Peters, 2007, p. 171).

9. From Social Policy to European Social Model

  • Foucault links German neoliberalism to the broader formation of the European social model, emphasizing how social equity was integrated within a competitive market logic.
  • This informs Third Way politics and education policy, especially in the “knowledge economy” era (Peters, 2007, pp. 172–173).

10. Governmentality as a Tool to Understand Modern Neoliberalism

  • Foucault provides a framework to analyze how governing the self (e.g. through enterprise culture and accountability) aligns with governing populations (Peters, 2007, p. 173).
  • “Neoliberalism institutionalizes the entrepreneurial self… generalizing all forms of capitalization of the self” (Peters, 2007, p. 173).
  • His work offers an alternative to moralistic critiques of neoliberalism (e.g., David Harvey) by historicizing its epistemological roots.
Theoretical Terms/Concepts in “Foucault, biopolitics and the birth of neoliberalism” by Michael A. Peters
TermExplanation + Example from Article
🧠 GovernmentalityExplanation: Foucault’s term for the art of governing beyond traditional notions of state power; it refers to the rationalities and techniques by which subjects are governed. Example: The article explains how Foucault analyzed liberalism through governmentality—highlighting how freedom itself becomes a mechanism of control by mobilizing individuals’ self-regulation.
🧬 BiopoliticsExplanation: A form of power focused on managing populations as biological and political entities. It refers to the governance of life—birth, death, health, longevity, etc. Example: Foucault’s concept that the state “has essentially to take care of men as a population” signals the shift toward biopolitics through practices like public health and education policies.
⚖️ OrdoliberalismExplanation: A German school of neoliberal thought emphasizing a strong legal and institutional framework to maintain market competition. Example: Peters details how thinkers like Eucken and Erhard crafted the “social market economy” where the state ensures competition while also providing social welfare safeguards.
🧾 Political EconomyExplanation: The study of how economic theories and practices intersect with political structures. Example: Foucault investigates how political economy becomes the internal limit of liberal government—through the principle of market truth rather than justice.
👤 Subjectivation / SubjectivityExplanation: The process by which individuals are shaped as subjects through power and knowledge structures. Example: Foucault shifts from focusing on individuals to how political systems produce subjects, particularly through pastoral power and self-regulation.
💼 Entrepreneurial SelfExplanation: A neoliberal ideal where individuals treat themselves as businesses, investing in their own skills and productivity. Example: Peters discusses how neoliberalism institutionalizes the entrepreneurial self in education and labor policy—framing life as a project of performance and accountability.
📊 Political Arithmetic (Statistics)Explanation: Techniques used to quantify and regulate populations, foundational to biopolitical governance. Example: The article mentions how Foucault examines “political arithmetic” as a key in the formation of population-focused governance, moving away from sovereignty toward management.
🧩 Reason of State (Raison d’État)Explanation: A concept of governance where the state’s legitimacy stems from its effectiveness, not from divine or natural law. Example: Foucault describes the shift in the 16th century when state legitimacy began to rest on managing populations and economies rather than sovereign decree.
🏛️ Civil SocietyExplanation: A domain of voluntary associations and private relationships distinct from the state. In neoliberalism, it becomes a crucial support structure for economic freedom. Example: Peters notes Foucault’s focus on civil society (via Adam Ferguson) as an essential companion to homo economicus, allowing liberalism to function without direct state intervention.
📈 Homo EconomicusExplanation: The model of a rational, self-interested economic actor central to neoliberal thought. Example: In Foucault’s lectures, this figure is redefined under neoliberalism not simply as a consumer but as an entrepreneur of the self, engaged in constant self-investment.
Contribution of “Foucault, biopolitics and the birth of neoliberalism” by Michael A. Peters to Literary Theory/Theories
📘 Literary Theory🧩 Contribution from the Article🔍 Reference / Example from the Article
🔄 PoststructuralismChallenges essentialist views of power, identity, and meaning by emphasizing discourse, governmentality, and the subject as effects of historical power-knowledge.“Foucault examined practices of knowledge produced through the relations of power” (p. 166)
⚖️ Critical TheoryCritiques neoliberalism as a form of masked ideological control that embeds market rationality within notions of freedom and governance.“Neoliberalism institutionalizes the entrepreneurial self and generalizes all forms of capitalization of the self” (p. 173)
🔨 Marxist Literary TheoryReinterprets capitalist ideology through biopolitics and state intervention, emphasizing power beyond class struggle and material base.“Technologies of power… based on biopolitical techniques that bypassed the law and its freedoms” (p. 167)
🧠 Psychoanalytic TheoryEngages implicitly with the psychic internalization of neoliberal governance, especially the construction of the ‘entrepreneurial self.’“The government of the self has become so important to understanding both neoliberalism and Third Way politics” (p. 173)
🎭 Cultural StudiesLinks political economy to subject formation and cultural practices, particularly in education and knowledge production.“The notion of the ‘citizen–consumer’—a market-democracy hybrid of the subject…” (p. 172)
New HistoricismUses Foucault’s genealogy to historicize neoliberalism from feudalism through modernity, stressing contingency in the development of state power.“Foucault explores the problem of government as it ‘explodes in the sixteenth century’ after the collapse of feudalism…” (p. 166)
👤 Reader-Response TheoryUndermines the idea of an autonomous reader by showing how neoliberalism configures the subject as a rational, self-regulating individual.“…the entrepreneurial self is an individual constantly acting on him or herself to improve future outcomes” (p. 173)
🧩 StructuralismReveals how neoliberalism depends on binary oppositions (e.g., market vs. state, freedom vs. regulation) within systems of meaning and governance.“Liberalism… possessed a distinctive concept and rationale for the activity of governing” (p. 167)
Examples of Critiques Through “Foucault, biopolitics and the birth of neoliberalism” by Michael A. Peters
📘 Literary Work🧩 Foucauldian-Neoliberal Critique (via Peters)🔍 Example Application
🏙️ George Orwell – 1984Explores disciplinary society, but can be contrasted with Peters’ view that modern neoliberal control is biopolitical, not overtly repressive.Winston is punished through overt surveillance; in contrast, Peters’ neoliberal subject internalizes self-discipline through “freedom.”
🎓 Kazuo Ishiguro – Never Let Me GoIllustrates biopolitics and life administration, as characters are bred and conditioned to die for the good of the system.Like Foucault’s population management, clones are produced for “health” policies—echoing Peters’ discussion of state-as-caregiver logic.
🧳 F. Scott Fitzgerald – The Great GatsbyJay Gatsby exemplifies the entrepreneurial self—constantly investing in himself to maximize symbolic capital—mirroring neoliberal subjectivity.Peters’ idea of “capitalization of the self” applies directly to Gatsby’s self-invention through social mobility fantasies.
🏫 Alan Bennett – The History BoysDemonstrates neoliberal restructuring of education as human capital production, echoing Peters’ critique of knowledge economies.Schoolboys are trained not for knowledge but for university rankings—reflecting Peters’ concern with “audit culture” and “output-based accountability.”
Criticism Against “Foucault, biopolitics and the birth of neoliberalism” by Michael A. Peters

🔍 Overreliance on Foucault Without Critical Distance

  • Peters adopts Foucault’s framework largely uncritically, potentially reproducing its blind spots rather than interrogating them.
  • Critics may argue he does not sufficiently engage with limitations in Foucault’s genealogy—such as its lack of attention to resistance, race, or class struggle.

🌍 Limited Global Scope

  • The article centers heavily on German ordoliberalism and European contexts, overlooking how neoliberalism manifests differently in the Global South, postcolonial states, or authoritarian economies.
  • The broader geopolitical impact of biopolitics—e.g. in colonial or militarized zones—is underexplored.

📚 Minimal Engagement with Alternative Theories of Neoliberalism

  • Peters does not deeply contrast Foucault’s insights with other major theorists such as David Harvey, Wendy Brown, or Nancy Fraser, who bring Marxist, feminist, or racialized critiques of neoliberal power.
  • As a result, readers are offered a Foucauldian “monologue” rather than a dialogue with diverse theoretical traditions.

🧱 Ambiguity Around Resistance or Agency

  • By emphasizing how neoliberalism molds the entrepreneurial self, Peters may understate spaces of resistance or critical agency within neoliberal regimes.
  • There’s little discussion of how individuals contest, subvert, or escape governmentality—even within educational or cultural settings.

🧠 Abstraction Without Concrete Case Studies

  • The analysis remains highly abstract; it theorizes subjectivity and governmentality but lacks grounded ethnographic, empirical, or literary case studies to exemplify how neoliberalism actually functions in lived practice.

📏 Loose Conceptual Boundaries

  • Concepts like “entrepreneurial self” or “capitalization of the self” are not tightly defined in Peters’ usage, and could benefit from clearer boundaries or distinctions from existing psychological or sociological models.
Representative Quotations from “Foucault, biopolitics and the birth of neoliberalism” by Michael A. Peters with Explanation
#QuotationExplanation
1️⃣“Power is exercised only over free subjects, and only insofar as they are free.”Power in modern societies operates through freedom—by influencing how individuals choose and act, rather than through direct coercion.
2️⃣“The problem… is not to liberate the individual from the state, but to liberate ourselves from the type of individualization linked to it.”Foucault warns that the deeper issue is how the state shapes individuals’ identities—not just its external control, but its role in forming subjectivity.
3️⃣“Foucault examined practices of knowledge produced through the relations of power.”Knowledge is not neutral—it’s shaped by power and, in turn, reinforces power structures. This challenges traditional epistemological assumptions.
4️⃣“Western society employed technologies of power… based on biopolitical techniques that bypassed the law.”Modern governance uses disciplinary and biological regulation rather than legal mandates—shaping behavior subtly and systemically.
5️⃣“Government emerges… as a general problem… including the government of the self.”The act of governing includes self-regulation, where individuals internalize social norms and manage their behavior in accordance with political rationality.
6️⃣“It wields its power over living beings… its politics… has to be a biopolitics.”The state manages populations as biological entities—through health, reproduction, and life expectancy—thus politics becomes biopolitics.
7️⃣“The problem of neoliberalism is knowledge… of how to exercise global political power based on the principles of a market economy.”Neoliberalism governs through expert knowledge—embedding economic logic into global political systems and statecraft.
8️⃣“The market based on the rule of law was seen as an essential bulwark of liberalism.”Neoliberalism, especially in the German tradition, relies on strong legal frameworks to ensure fair competition, not just deregulation.
9️⃣“Neoliberalism institutionalized enterprise culture… capitalization of the self.”Individuals become entrepreneurs of the self—expected to invest in and optimize themselves as if they were economic assets.
🔟“Foucault provides us with a complex genealogy… that confounds standard accounts of liberalism and neoliberalism.”Foucault challenges simplistic critiques by tracing the nuanced evolution of modern political rationalities like neoliberalism.
Suggested Readings: “Foucault, biopolitics and the birth of neoliberalism” by Michael A. Peters
  1. Dillon, Michael, and Luis Lobo-Guerrero. “Biopolitics of Security in the 21st Century: An Introduction.” Review of International Studies, vol. 34, no. 2, 2008, pp. 265–92. JSTOR, http://www.jstor.org/stable/40212521. Accessed 28 July 2025.
  2. Prozorov, Sergei. “Foucault’s Affirmative Biopolitics: Cynic Parrhesia and the Biopower of the Powerless.” Political Theory, vol. 45, no. 6, 2017, pp. 801–23. JSTOR, https://www.jstor.org/stable/26419448. Accessed 28 July 2025.
  3. Hughes, James J. “Biopolitics.” Keywords for Environmental Studies, edited by Joni Adamson et al., vol. 3, NYU Press, 2016, pp. 22–24. JSTOR, http://www.jstor.org/stable/j.ctt15zc5kw.11. Accessed 28 July 2025.
  4. Levinson, Brett. “Biopolitics and Duopolies.” Diacritics, vol. 35, no. 2, 2005, pp. 65–75. JSTOR, http://www.jstor.org/stable/4621035. Accessed 28 July 2025.

“Outlaw Pete” by Bruce Springsteen: A Critical Analysis

“Outlaw Pete” by Bruce Springsteen first appeared in 2009 as the opening track of his album Working on a Dream.

"Outlaw Pete" by Bruce Springsteen: A Critical Analysis
Introduction: “Outlaw Pete” by Bruce Springsteen

“Outlaw Pete” by Bruce Springsteen first appeared in 2009 as the opening track of his album Working on a Dream. This narrative ballad unfolds the mythic tale of a morally conflicted antihero, Outlaw Pete, who journeys from infant bank robber to remorseful fugitive. The song draws on themes of fate, identity, and redemption, tapping into the American storytelling tradition of frontier legends and western outlaws. Its popularity stems not only from Springsteen’s gripping lyricism and storytelling but also from the larger-than-life character that blurs the lines between sinner and seeker. A poignant line—“We cannot undo these things we’ve done”—spoken by Pete’s dying nemesis, encapsulates the fatalistic gravity of the outlaw’s path and the burden of past deeds. The blend of myth, morality, and Springsteen’s iconic musical style has made Outlaw Pete a standout work in his repertoire.

Text: “Outlaw Pete” by Bruce Springsteen

He was born a little baby on the Appalachian Trail
At six months old he’d done three months in jail
He robbed a bank in his diapers and little bare baby feet
All he said was “Folks my name is Outlaw Pete”
I’m Outlaw Pete, I’m Outlaw Pete, can you hear me?

At 25 a Mustang pony he did steal
And he rode her ’round and ’round on heaven’s wheel
Father Jesus I’m an outlaw, killer and a thief
And I slow down only to sow my grief
I’m Outlaw Pete, I’m Outlaw Pete, can you hear me?

He cut his trail of tears across the countryside
And where he went women wept and men died

One night he awoke from a vision of his own death
Saddled his pony and rode out deep into the West
Married a Navajo girl and settled down on the res.
And as the snow fell he held their beautiful daughter to his chest
I’m Outlaw Pete, I’m Outlaw Pete, can you hear me?
Can you hear me? Can you hear me?

Out of the East on an Irish stallion came bounty hunter Dan
His heart quickened and burdened by the need to get his man
He found Pete peacefully fishing by the river
Pulled his gun and got the drop
He said “Pete you think you’ve changed but you have not”

He cocked his pistol pulled the trigger and shouted, “Let it start”
Pete drew a knife from his boot, threw it,
And pierced Dan through the heart
Dan smiled as he lay in his own blood dying in the sun
Whispered in Pete’s ear “We cannot undo these things we’ve done”
You’re Outlaw Pete, You’re Outlaw Pete, can you hear me?
Can you hear me? Can you hear me?

For forty days & nights Pete rode and did not stop
Till he sat high upon an icy mountaintop
He watched a hawk on a desert updraft, slip & slide
Moved to the edge and dug his spurs deep into his pony’s side

Some say Pete and his pony vanished over the edge
And some say they remain frozen high up on that icy ledge
A young Navajo girl washes in the river, her skin so fair
And braids a piece of Pete’s buckskin chaps into her hair
Outlaw Pete, Outlaw Pete, can you hear me?
Can you hear me? Can you hear me? Can you hear me?
Can you hear me? Can you hear me?

Annotations: “Outlaw Pete” by Bruce Springsteen
Stanza #Simple English Annotation🎨 Literary Devices Used
1Pete is born on the Appalachian Trail and starts committing crimes as a baby, including robbing a bank in diapers. He boldly announces his outlaw identity.🟣 Hyperbole – Doing jail time and robbing a bank as an infant 🔵 Irony – A baby cast as a hardened criminal 🟡 Alliteration – “bare baby feet” 🔴 Repetition – “I’m Outlaw Pete”
2At age 25, Pete steals a wild Mustang pony and rides endlessly. He admits to being a killer and thief, only stopping to feel grief.🟣 Symbolism – “Heaven’s wheel” suggests fate or divine judgment 🔴 Repetition – “I’m Outlaw Pete” 🟢 Religious Allusion – “Father Jesus” implies moral reckoning 🔵 Internal Rhyme – “killer and a thief”
3Pete continues spreading pain across the land. After dreaming of his own death, he flees west, marries a Navajo woman, and starts a family.🟢 Imagery – “women wept and men died” paints emotional and physical devastation 🔴Foreshadowing – “vision of his own death” 🟡 Cultural Reference – “settled down on the res” refers to Native American reservations
4Bounty hunter Dan arrives from the East, determined to capture Pete. He finds Pete peacefully fishing but accuses him of being unchanged. A deadly fight ensues, ending in Dan’s death.🔴 Dialogue – Builds dramatic tension and character conflict 🟣 Irony – Peaceful scene disrupted by fatal violence 🟢 Symbolism – “We cannot undo these things” implies moral consequence 🔵 Climax – Central conflict reaches peak
5Pete flees for 40 days and nights and rides to a mountaintop. Some say he vanished, others say he remains frozen there. His daughter, now grown, honors him by braiding his chaps into her hair.🟣 Mythical Imagery – “icy mountaintop,” “vanished over the edge” evokes legend 🟢 Symbolism – The daughter braiding his chaps into her hair signifies memory and legacy 🔴 Ambiguity – Ending is open to interpretation 🟡 Allusion – “forty days and nights” echoes biblical endurance
Literary And Poetic Devices: “Outlaw Pete” by Bruce Springsteen
✴️ Device📝 Example from the Song🧠 Explanation
🟡 Alliteration“diapers and little bare baby feet”Repetition of initial consonant sounds (“bare baby”) adds rhythm and emphasis.
🟢 Allusion (Biblical)“Father Jesus I’m an outlaw, killer and a thief”Reference to Christian morality, creating moral tension and spiritual contrast.
🔴 Ambiguity“Some say they remain frozen high up on that icy ledge”Unclear whether Pete survives or dies, allowing for multiple interpretations.
🟣 Anaphora“Can you hear me? Can you hear me?”Repetition at the beginning of lines adds emotional urgency and plea.
🔵 Assonance“He watched a hawk on a desert updraft, slip & slide”Repetition of vowel sounds (“hawk,” “updraft,” “slide”) enhances musicality.
🟠 Climax“Pete drew a knife from his boot… pierced Dan through the heart”Peak moment of tension and action—Dan’s death represents the narrative climax.
🟣 Dialogue“Pete you think you’ve changed but you have not”Adds realism and reveals character motivations and emotional conflict.
🟤 Foreshadowing“He awoke from a vision of his own death”Hints at future confrontation and his possible demise.
🟢 Hyperbole“At six months old he’d done three months in jail”Extreme exaggeration used to mythologize Pete’s character.
🔵 Imagery“A young Navajo girl washes in the river, her skin so fair”Vivid visual detail evokes serenity and legacy.
🟣 IronyA baby robbing a bankHumor and absurdity contrast with the seriousness of crime.
🟠 Metaphor“cut his trail of tears across the countryside”Suggests a path of emotional and physical destruction; echoes Native history.
🟤 Motif“I’m Outlaw Pete” repeatedReinforces identity and inner conflict throughout the ballad.
🟡 Narrative StructureFull life story from birth to mythic endTold like a Western epic or folklore tale, gives the song literary depth.
🔴 Onomatopoeia“Pulled his gun and got the drop” (implied gunfire)Suggests sound and action to intensify the scene (though subtle here).
🟢 Personification“He rode her ’round and ’round on heaven’s wheel”Heaven’s wheel acts as fate, giving divine agency to his ride.
🔵 Repetition“I’m Outlaw Pete, I’m Outlaw Pete, can you hear me?”Reinforces the haunting presence of Pete and his inescapable identity.
🟣 Setting“on the Appalachian Trail”; “high upon an icy mountaintop”Establishes time and place, lending mythic and epic qualities.
🟠 Simile“Dan smiled as he lay in his own blood dying in the sun” (implied rather than direct simile)The visual comparison of his dying moment to the sun adds tragic beauty.
🟡 SymbolismThe hawk, the pony, and the icy ledgeRepresent fate, freedom, and the mystery of Pete’s end; enhances allegorical depth.
Themes: “Outlaw Pete” by Bruce Springsteen

🔴 1. Fate and Inescapable Identity: “Outlaw Pete” by Bruce Springsteen begins with a surreal depiction of destiny: “He was born a little baby on the Appalachian Trail / At six months old he’d done three months in jail.” 🔵 From birth, Pete’s identity is tied to crime, suggesting that he is fated to live as an outlaw. His repeated self-declaration—“I’m Outlaw Pete, can you hear me?”—acts like a brand or curse, affirming that his name defines him. 🟣 Even after trying to change by starting a family, bounty hunter Dan declares, “Pete you think you’ve changed but you have not.” 🔴 The theme highlights how deeply a person’s identity can become bound to their past, suggesting some fates are impossible to outrun.


🟢 2. Crime, Consequence, and Guilt: “Outlaw Pete” by Bruce Springsteen explores not just the spectacle of crime, but its emotional toll. Pete is introduced through comic hyperbole—“He robbed a bank in his diapers”—yet his self-reflection shows depth: “Father Jesus I’m an outlaw, killer and a thief / And I slow down only to sow my grief.” 🔴 These lines reveal a man tormented by the pain he has caused. The climax intensifies this guilt when Dan, as he dies, whispers, “We cannot undo these things we’ve done.” 🟣 Springsteen emphasizes that beyond violence lies the deeper punishment of regret—a reminder that consequences are internal as well as external.


🔵 3. Redemption and Transformation: “Outlaw Pete” by Bruce Springsteen offers a moment of peace when Pete seems to seek redemption. After years of destruction, he marries a Navajo woman and cradles his daughter: “And as the snow fell he held their beautiful daughter to his chest.” 🟢 This scene suggests hope—perhaps even healing. Pete steps away from violence and into a quiet life. But Dan’s fatal confrontation—“You think you’ve changed but you have not”—questions whether transformation is real or simply denial. 🔴 The theme remains unresolved, leaving us to wonder if true redemption is possible or if Pete’s past forever defines him.


🟡 4. Myth, Legend, and the American West: “Outlaw Pete” by Bruce Springsteen is crafted like a tall tale of the Wild West, blending myth and metaphor. From robbing banks as a baby to fleeing on a “Mustang pony” and disappearing into the mountains, Pete’s life echoes legends. 🟠 The song’s language—“trail of tears,” “heaven’s wheel,” “icy mountaintop”—evokes folklore and Native imagery. The closing lines—“Some say Pete and his pony vanished over the edge”—leave his fate mysterious, as if he became part of the landscape itself. 🟣 In this way, Springsteen elevates Pete into a symbol of outlaw mythology, forever suspended between history and legend.

Literary Theories and “Outlaw Pete” by Bruce Springsteen
✴️ Literary Theory📖 How It Applies🔍 Reference from the Poem
1. Psychoanalytic TheoryFocuses on unconscious desires, guilt, and inner conflict. Pete’s dual identity as a criminal and a father reflects deep internal struggle between the id (impulse) and superego (conscience).“Father Jesus I’m an outlaw, killer and a thief / And I slow down only to sow my grief” — shows remorse and inner guilt.
2. Marxist TheoryExplores class, power, and rebellion. Pete is a symbol of rebellion against social order, law, and perhaps capitalism, living on the fringes of society.“He was born a little baby on the Appalachian Trail / At six months old he’d done three months in jail” — suggests systemic marginalization from birth.
3. Feminist TheoryExamines gender roles and representation. Women in the poem are peripheral and emotional observers; Pete’s wife is unnamed, and his daughter represents legacy but not agency.“He held their beautiful daughter to his chest” — symbolizes female characters as emotional anchors, not active agents.
4. Mythological/Archetypal TheoryInterprets Pete as a mythic hero or antihero. His journey follows a typical hero’s path—birth, trials, confrontation, exile, and ambiguous end.“Some say Pete and his pony vanished over the edge” — portrays him as a legendary figure, possibly immortalized in myth.
Critical Questions about “Outlaw Pete” by Bruce Springsteen

❓🔴 1. How does fate shape identity in “Outlaw Pete” by Bruce Springsteen?

“Outlaw Pete” by Bruce Springsteen raises the question of whether Pete chooses his criminal path or is doomed to it from birth. The song opens with an exaggerated but telling image: “He was born a little baby on the Appalachian Trail / At six months old he’d done three months in jail.” This fantastical beginning suggests that Pete’s identity is predetermined. The repetition of “I’m Outlaw Pete, can you hear me?” throughout the song reinforces the inescapability of that identity. 🔁 Is Pete truly making decisions, or is he merely playing out a script written for him by his name, society, or destiny?


❓🟢 2. Can a person ever truly escape their past in “Outlaw Pete” by Bruce Springsteen?

“Outlaw Pete” by Bruce Springsteen forces us to question whether transformation is genuine or merely temporary. Pete attempts to build a new life—“Married a Navajo girl and settled down on the res”—and appears to find peace as a husband and father. But this redemption is violently interrupted when Dan, the bounty hunter, confronts him and declares: “Pete, you think you’ve changed but you have not.” ⛓️ Despite Pete’s efforts to change, the past tracks him down. The question becomes: is change only meaningful if the world believes it, or is internal transformation enough?


❓🔵 3. What is the role of myth and exaggeration in defining “truth” in “Outlaw Pete” by Bruce Springsteen?

“Outlaw Pete” by Bruce Springsteen presents a fantastical narrative where Pete robs a bank as a baby and possibly rides off a mountaintop, vanishing into legend. “Some say Pete and his pony vanished over the edge / And some say they remain frozen high up on that icy ledge.” 🌄 These lines leave Pete’s fate open to speculation, cementing his mythic status. The story blends fact with fable, challenging our notion of truth. Is Springsteen telling a literal tale or crafting a parable about human struggle? This invites a deeper discussion on the power of storytelling in shaping legacy and identity.


❓🟡 4. How are women portrayed in “Outlaw Pete” by Bruce Springsteen, and what does this suggest?

“Outlaw Pete” by Bruce Springsteen includes very limited representations of women, prompting the question of their narrative role. Women are present as emotional markers, not active agents: “And where he went women wept and men died.” Later, Pete’s wife is only identified by her culture—“a Navajo girl”—and his daughter becomes a symbol of remembrance: “braids a piece of Pete’s buckskin chaps into her hair.” 🧵 While their presence humanizes Pete, they are not developed as characters with voices or actions. This raises concerns about gender representation and how women are often used to reflect or reinforce male identity in myth-based narratives.

Literary Works Similar to “Outlaw Pete” by Bruce Springsteen

🔫 1. “The Highwayman” by Alfred Noyes

🔗 Similarity: Both tell tragic, romanticized stories of outlaws who live and die by their choices. Like Pete, the Highwayman is a doomed antihero haunted by fate and love.
🟠 Themes: Doomed love, outlaw life, fate
📜 Narrative Style: Ballad with refrain and vivid imagery


🏹 2. “Ballad of Reading Gaol” by Oscar Wilde

🔗 Similarity: Both explore guilt, justice, and identity through poetic storytelling. Wilde’s poem delves into the psychological impact of crime, much like Pete’s internal conflict.
🔵 Themes: Crime, punishment, morality
🟣 Tone: Reflective, haunting, lyrical


🌵 3. “Paul Revere’s Ride” by Henry Wadsworth Longfellow

🔗 Similarity: Like Outlaw Pete, this poem mythologizes a historical figure, blending fact and fiction to create a legendary American persona.
🟢 Themes: Heroism, national myth, legendary journey
🟡 Structure: Rhythmic narrative with strong visual cues



⚰️ 4. “Annabel Lee” by Edgar Allan Poe

🔗 Similarity: Though focused on love, Poe’s poem mirrors Pete’s legend-building tone and uses repetition and lyrical myth to immortalize its central figure.
🟣 Themes: Eternal memory, death, emotional myth
🔵 Form: Repetition and musicality enhance its mythic quality

Representative Quotations of “Outlaw Pete” by Bruce Springsteen
🔖 Quotation📜 Contextual Interpretation🧠 Theoretical Perspective
“He was born a little baby on the Appalachian Trail / At six months old he’d done three months in jail”An exaggerated, almost comic origin that turns Pete into a mythic figure from birth.Mythological / Archetypal – Pete is born with a predestined role, like a tragic hero.
“Folks my name is Outlaw Pete”Pete introduces himself with pride, showing how identity and reputation define him.Psychoanalytic – Ego assertion; the name becomes his identity and burden.
“Father Jesus I’m an outlaw, killer and a thief”Pete confronts his actions and expresses guilt to a divine figure.Religious / Moral Criticism – Reflects internal conflict and moral awareness.
“And I slow down only to sow my grief”His moments of rest are filled with emotional pain rather than peace.Psychoanalytic – Symbolizes repression and the resurfacing of guilt.
“He cut his trail of tears across the countryside”A metaphor suggesting emotional destruction and historical trauma.Postcolonial – Echoes Native American history (“Trail of Tears”), linking personal pain to cultural memory.
“Married a Navajo girl and settled down on the res”Pete tries to integrate into a new life and find redemption.Feminist & Cultural Studies – Raises issues of gender representation and cultural appropriation.
“You think you’ve changed but you have not”Dan, the bounty hunter, challenges Pete’s redemption arc.Deconstruction – Challenges the stability of identity and change.
“We cannot undo these things we’ve done”A haunting confession of irreversible actions and moral burden.Existentialism – Emphasizes responsibility and the permanence of choices.
“Some say Pete and his pony vanished over the edge”Suggests Pete’s story lives on in mystery, myth, or death.Mythological / Reader-Response – The audience must interpret his fate.
“A young Navajo girl… braids a piece of Pete’s buckskin chaps into her hair”Pete’s legacy survives through his daughter, symbolizing memory.Feminist / Archetypal – Female character functions as a vessel for myth and memory.
Suggested Readings: “Outlaw Pete” by Bruce Springsteen
  1. Fields, Peter J. ““Outlaw Pete”: Bruce Springsteen and the Dream-Work of Cosmic American Music.” The Biannual Online-Journal of Springsteen Studies 2.1 (2016).
  2. Eddy, Chuck. “Bruce Springsteen: Working on a Dream.” Terminated for Reasons of Taste: Other Ways to Hear Essential and Inessential Music, Duke University Press, 2016, pp. 202–03. JSTOR, https://doi.org/10.2307/j.ctv12102sm.62. Accessed 28 July 2025.
  3. Dinerstein, Joel. “The Soul Roots of Bruce Springsteen’s American Dream.” American Music, vol. 25, no. 4, 2007, pp. 441–76. JSTOR, https://doi.org/10.2307/40071678. Accessed 28 July 2025.
  4. FANSHEL, ROSALIE ZDZIENICKA. “Beyond Blood Brothers: Queer Bruce Springsteen.” Popular Music, vol. 32, no. 3, 2013, pp. 359–83. JSTOR, http://www.jstor.org/stable/24736780. Accessed 28 July 2025.

“My Country” by Dorothea Mackellar: A Critical Analysis

“My Country” by Dorothea Mackellar first appeared in The Spectator in 1908 and was later included in her 1911 poetry collection The Closed Door.

"My Country" by Dorothea Mackellar: A Critical Analysis
Introduction: “My Country” by Dorothea Mackellar

“My Country” by Dorothea Mackellar first appeared in The Spectator in 1908 and was later included in her 1911 poetry collection The Closed Door. The poem expresses Mackellar’s deep emotional attachment to Australia, contrasting it with the gentle and temperate English landscape admired by others. Its main ideas revolve around the fierce beauty, harsh climate, and raw vitality of the Australian environment, highlighting elements such as droughts, floods, and sweeping plains. Mackellar’s patriotic fervor shines through with lines like “I love a sunburnt country” and “Core of my heart, my country!” which celebrate the extremes and uniqueness of the land. The poem became popular because it captured a strong sense of national identity and pride, especially during a time when Australia was still forging its cultural independence from Britain. Through vivid imagery—“opal-hearted country,” “sapphire-misted mountains”—Mackellar evokes both the grandeur and the struggle of rural life, resonating with generations of Australians who recognize the emotional truth behind its rugged landscapes.

Text: “My Country” by Dorothea Mackellar

The love of field and coppice,
Of green and shaded lanes.
Of ordered woods and gardens
Is running in your veins,
Strong love of grey-blue distance
Brown streams and soft dim skies
I know but cannot share it,
My love is otherwise.

I love a sunburnt country,
A land of sweeping plains,
Of ragged mountain ranges,
Of droughts and flooding rains.
I love her far horizons,
I love her jewel-sea,
Her beauty and her terror –
The wide brown land for me!

A stark white ring-barked forest
All tragic to the moon,
The sapphire-misted mountains,
The hot gold hush of noon.
Green tangle of the brushes,
Where lithe lianas coil,
And orchids deck the tree-tops
And ferns the warm dark soil.

Core of my heart, my country!
Her pitiless blue sky,
When sick at heart, around us,
We see the cattle die –
But then the grey clouds gather,
And we can bless again
The drumming of an army,
The steady, soaking rain.

Core of my heart, my country!
Land of the Rainbow Gold,
For flood and fire and famine,
She pays us back threefold –
Over the thirsty paddocks,
Watch, after many days,
The filmy veil of greenness
That thickens as we gaze.

An opal-hearted country,
A wilful, lavish land –
All you who have not loved her,
You will not understand –
Though earth holds many splendours,
Wherever I may die,
I know to what brown country
My homing thoughts will fly.

Annotations: “My Country” by Dorothea Mackellar
StanzaSimplified MeaningKey Literary DevicesHighlighted Examples
Stanza 1The poet respects others’ love for England’s soft, green landscape, but she feels a different passion for another land.🌄 Imagery, 🌀 Contrast, 🎶 Alliteration“green and shaded lanes” 🌄, “I know but cannot share it” 🌀
Stanza 2She declares her love for Australia, a place of dramatic landscapes, intense weather, and wild beauty.🌄 Imagery, ❤️ Personification, 🔁 Repetition, 🌀 Contrast“sunburnt country” 🌄, “Her beauty and her terror” ❤️, “I love…I love…” 🔁
Stanza 3The poet continues describing nature’s intensity: white forests, misted mountains, and tangled rainforests.🌄 Imagery, ✨ Symbolism, 🎶 Alliteration“sapphire-misted mountains” 🌄, “hot gold hush” ✨, “green tangle of the brushes” 🎶
Stanza 4Despite the cruelty of the land, such as droughts killing cattle, rain brings relief and renewal.❤️ Personification, 🌄 Imagery, 💥 Hyperbole, 🔁 Repetition“Her pitiless blue sky” ❤️, “see the cattle die” 🌄, “drumming of an army” 💥
Stanza 5She celebrates the land’s ability to recover and thrive after suffering, symbolized by the greening of paddocks.🌄 Imagery, ✨ Symbolism, 🔁 Repetition“Land of the Rainbow Gold” ✨, “filmy veil of greenness” 🌄, “She pays us back threefold” 🔁
Stanza 6The poet calls Australia a wild and rich land. She feels deeply bonded to it and knows her heart will always return there.🗣️ Apostrophe, 🌄 Imagery, ✨ Symbolism, 💥 Hyperbole“Core of my heart, my country!” 🗣️, “opal-hearted country” ✨, “my homing thoughts will fly” 💥
Literary And Poetic Devices: “My Country” by Dorothea Mackellar
DeviceExample from PoemExplanation
🎶 Alliteration“flood and fire and famine”Repetition of initial consonant sounds creates rhythm and musicality.
📚 Allusion“Land of the Rainbow Gold”Refers to a common legend (gold at a rainbow’s end), symbolizing hope.
🔁 Anaphora“I love… I love…”Repetition at the start of lines emphasizes passion and emotional depth.
🗣️ Apostrophe“Core of my heart, my country!”Directly addressing the country as if it were a person.
🎵 Assonance“sapphire-misted mountains”Repetition of vowel sounds adds a smooth, lyrical quality.
🌀 Contrast“Her beauty and her terror”Shows the dual nature of the land: both breathtaking and dangerous.
↩️ Enjambment“Wherever I may die, / I know to what brown country…”Sentences flow over line breaks, creating movement and continuity.
🔚 Epistrophe“My country! My country!” (implied)Repetition at the ends of lines (implied structure) for emotional closure.
💥 Hyperbole“She pays us back threefold”Deliberate exaggeration to show the land’s abundant rewards.
🌄 Imagery“sunburnt country,” “opal-hearted country”Sensory language that vividly paints the Australian landscape.
🙃 Irony“Her beauty and her terror”Highlights the unexpected contradiction between danger and beauty.
⚖️ Juxtaposition“droughts and flooding rains”Places extremes side by side to stress the land’s unpredictability.
🪞 Metaphor“opal-hearted country”Compares the country to an opal, rich in emotion and beauty.
🔊 Onomatopoeia“drumming of an army”Mimics the sound of heavy rain through military imagery.
♾️ Paradox“Her beauty and her terror”A contradiction that reveals deeper truth about Australia’s land.
❤️ Personification“Her pitiless blue sky”Nature is given human qualities to create empathy and emotion.
🔁 Repetition“Core of my heart, my country!”Repeated phrasing for emotional intensity and connection.
Symbolism“Rainbow Gold,” “opal-hearted”Physical images symbolize deeper ideas like beauty, love, and resilience.
🎭 ToneEntire poemA loving, reverent, yet realistic tone about the land’s hardships and beauty.
👁️ Visual Imagery“jewel-sea,” “grey clouds gather,” “ring-barked forest”Creates mental pictures that make the reader “see” the Australian environment.
Themes: “My Country” by Dorothea Mackellar

🌏 Patriotism and National Identity: “My Country” by Dorothea Mackellar powerfully expresses a deep sense of patriotism and national identity. Mackellar draws a clear contrast between the gentle landscapes of England—“the love of field and coppice, of green and shaded lanes”—and the raw, rugged beauty of Australia. She proclaims, “My love is otherwise,” establishing a personal and passionate bond with her homeland. Her voice grows more intimate and emotional as she repeats, “Core of my heart, my country!” The poem resonates with pride and loyalty, presenting Australia not just as a place, but as a core part of her identity. It became a defining patriotic work, reflecting a national pride deeply rooted in land, climate, and character.


🌿 Nature’s Beauty and Brutality: “My Country” by Dorothea Mackellar vividly portrays the majestic and often violent natural world of Australia. She uses striking imagery like “sunburnt country,” “sapphire-misted mountains,” and “jewel-sea” to highlight its beauty, while also acknowledging the harsh realities: “Of droughts and flooding rains,” and “Her pitiless blue sky.” The contrast between “Her beauty and her terror” underscores the wild duality of the land. Mackellar doesn’t shy away from nature’s cruelty but embraces it as essential to Australia’s unique spirit. This honesty and intensity set her poem apart from idealized portrayals of nature, presenting it as both magnificent and merciless.


❤️ Emotional Connection to Homeland: “My Country” by Dorothea Mackellar explores the emotional depth of her bond to the Australian landscape. Her words reflect not only admiration but also belonging. She speaks of Australia as part of her heart: “Core of my heart, my country!” The final lines express a spiritual attachment that transcends death: “Wherever I may die, I know to what brown country my homing thoughts will fly.” This connection is deeply personal, and Mackellar frames the land as inseparable from her own being. Her emotions are not tied to comfort or aesthetics, but to memory, identity, and a visceral love for the land itself.


🔥 Resilience and Survival: “My Country” by Dorothea Mackellar highlights the resilience required to survive in Australia’s often unforgiving climate. The poet acknowledges suffering—“we see the cattle die”—but emphasizes the hope and regeneration that follow: “we can bless again the drumming of an army, the steady, soaking rain.” Mackellar sees in the land a cycle of destruction and rebirth, captured in “She pays us back threefold” and “the filmy veil of greenness that thickens as we gaze.” This theme of resilience reflects a national character forged through hardship and a deep respect for the land’s power to both take and give.

Literary Theories and “My Country” by Dorothea Mackellar
TheoryApplication to PoemTextual Reference
🌿 RomanticismEmphasizes intense emotion and a spiritual connection to nature. Mackellar expresses deep love for Australia’s wild landscape, aligning with Romantic ideals of the sublime.“I love a sunburnt country, / A land of sweeping plains”
🇦🇺 Nationalism / PostcolonialismCelebrates Australian identity and separates it from British influence. The poet embraces the uniqueness of Australia in contrast to the “ordered woods and gardens” of England.“I know but cannot share it, / My love is otherwise”
🌏 Eco-criticismExamines the interdependence between humans and nature. The poem illustrates nature’s extremes—drought, flood, regrowth—showing its power and unpredictability.“Of droughts and flooding rains”, “The filmy veil of greenness / That thickens as we gaze”
👩‍🌾 Feminist TheoryThe land is personified as a woman (“her”), reinforcing gendered connections between nature and femininity. This can reflect nurturing, pain, and beauty all at once.“Her beauty and her terror”, “Core of my heart, my country!”
Critical Questions about “My Country” by Dorothea Mackellar

❓🌿 1. How does “My Country” by Dorothea Mackellar reflect Romantic ideals through its portrayal of the Australian landscape?

In “My Country”, Dorothea Mackellar channels key Romantic ideals by expressing a deep emotional and spiritual connection to the natural world, specifically the Australian landscape. Romanticism often celebrates the sublime—nature’s beauty mixed with danger—and this is vividly illustrated in Mackellar’s description of “her beauty and her terror – / The wide brown land for me!”. The use of vivid natural imagery like “sapphire-misted mountains” and “hot gold hush of noon” captures the grandeur and awe of the landscape, evoking a personal reverence for nature that lies at the heart of Romantic poetry. Rather than idealizing order and control, Mackellar praises the wild, unpredictable, and even dangerous elements of nature. Her love for this “sunburnt country” is intense and emotional, aligning her with the Romantic tradition of nature as a source of identity, inspiration, and spiritual truth.


❓🇦🇺 2. In what ways does “My Country” by Dorothea Mackellar serve as a nationalist response to British colonial attitudes?

Dorothea Mackellar’s “My Country” is a powerful nationalist statement that challenges colonial preferences for England’s temperate and cultivated landscapes. The poem begins with a nod to this English ideal: “The love of field and coppice, / Of green and shaded lanes…”—an image of pastoral England. However, Mackellar firmly states “I know but cannot share it, / My love is otherwise,” rejecting this tradition in favor of a landscape that reflects Australia’s unique character. By listing its rugged features—“sweeping plains,” “droughts and flooding rains,” and “ragged mountain ranges”—she positions Australia as a land worthy of admiration and belonging in its own right. Through this, the poem asserts an independent national identity, redefining beauty and value through an Australian lens. The use of personal declaration (“I love…”) repeated throughout adds to the sense of patriotic emotion and cultural reclamation.


❓🌏 3. How does “My Country” by Dorothea Mackellar explore the dual nature of Australia’s environment from an eco-critical perspective?

Viewed through an eco-critical lens, “My Country” by Dorothea Mackellar offers a balanced portrayal of the Australian environment as both nurturing and destructive. The poem embraces nature’s extremes, emphasizing how Australians live in constant negotiation with the land’s power. For instance, she acknowledges “Her pitiless blue sky, / When sick at heart, around us, / We see the cattle die”—a stark reference to the impact of drought. Yet, this hardship is followed by nature’s redemption: “the grey clouds gather… the steady, soaking rain.” This cyclical view of destruction and renewal reveals a deep respect for the land’s authority and unpredictability. Rather than taming or exploiting the environment, the poem suggests Australians must accept and adapt to its rhythms. Mackellar’s depiction of the “filmy veil of greenness” that returns after rain highlights the regenerative beauty of the earth, affirming a theme of environmental resilience and coexistence.


❓👩‍🌾 4. What role does gendered language play in “My Country” by Dorothea Mackellar, and how might a feminist reading interpret this?

In “My Country”, Dorothea Mackellar repeatedly uses feminine language to describe the Australian land, referring to it as “her,” which invites a feminist interpretation of the poem. This gendered personification imbues the land with qualities traditionally associated with femininity: nurturing, beauty, and emotional intensity, but also volatility and suffering. For example, the land is described with tenderness (“Her beauty and her terror”) but also shown in pain and hardship (“Her pitiless blue sky” and “we see the cattle die”). A feminist reading may explore how Mackellar projects both power and vulnerability onto the land, presenting it as a maternal presence—tough yet deeply loved. The phrase “Core of my heart, my country!” suggests an intimate, almost familial bond, where the poet’s love mirrors the unconditional devotion often idealized in motherhood. This framing highlights how landscapes, like women, have historically been romanticized, revered, and subjected to both affection and control.

Literary Works Similar to “My Country” by Dorothea Mackellar
  • “I Hear America Singing” by Walt Whitman
    ➤ Similar in patriotic tone, it celebrates the people and identity of a nation through vivid imagery and personal pride.
  • “The Man from Snowy River” by Banjo Paterson
    ➤ Shares a love for the Australian landscape and national character, highlighting courage and connection to the land.
  • “To My Native Land” by Henry Louis Vivian Derozio
    ➤ Expresses emotional attachment and reverence for one’s homeland, similar to Mackellar’s personal devotion to Australia.
Representative Quotations of “My Country” by Dorothea Mackellar
🌟 Quotation📌 Context in Poem📚 Theoretical Perspective
“I love a sunburnt country, a land of sweeping plains,”Opening of the second stanza, expressing passionate love for Australia’s unique landscape.Postcolonialism – Celebrates a distinct national identity separate from British influence.
“Of droughts and flooding rains.”Following line, emphasizing Australia’s extreme and unpredictable climate.Eco-criticism – Focuses on the relationship between humans and Australia’s wild climate.
“Her beauty and her terror – the wide brown land for me!”Highlights the emotional paradox of the land’s simultaneous danger and beauty.Romanticism – Explores emotional depth and sublime beauty in the natural world.
“Core of my heart, my country!”Refrain repeated in two stanzas to intensify emotional connection to the homeland.Nationalism – Asserts patriotic pride and belonging through repetition and imagery.
“The love of field and coppice… I know but cannot share it, my love is otherwise.”Opening stanza; contrasts English scenery with her deep preference for Australia.Cultural Identity – Emphasizes personal and cultural divergence from the colonial norm.
“The drumming of an army, the steady, soaking rain.”Symbolic reference to life-giving rain following hardship, likened to a military force.Symbolism – Uses metaphor to equate nature’s renewal with survival and hope.
“She pays us back threefold – over the thirsty paddocks…”Acknowledges nature’s harshness but celebrates its power to renew and restore.Resilience Theory – Reflects nature’s ability to recover and reward endurance.
“The sapphire-misted mountains, the hot gold hush of noon.”Illustrates the physical beauty and climate of the Australian environment.Imagism – Sharp visual imagery that captures sensory experiences of the land.
“An opal-hearted country, a wilful, lavish land –”Summarizes the poem’s portrayal of Australia as emotionally rich and complex.Psycho-geography – Depicts land as reflecting internal emotional landscapes.
“Wherever I may die, I know to what brown country my homing thoughts will fly.”Final lines of the poem; captures the eternal bond with Australia, even in death.Spiritual Geography – Ties emotional and metaphysical identity to physical homeland.
Suggested Readings: “My Country” by Dorothea Mackellar
  1. Mackellar, Dorothea, and Harry John Weston. My country. Omnibus Books, 2010.
  2. Elliott, Brian. “Australian Literature and Australian Literacy.” The Australian Quarterly, vol. 18, no. 4, 1946, pp. 67–79. JSTOR, https://doi.org/10.2307/20631405. Accessed 28 July 2025.
  3. Arnold, John. “Studying Australian Literature: A Guide to Some Recent Sources.” World Literature Today, vol. 67, no. 3, 1993, pp. 533–39. JSTOR, https://doi.org/10.2307/40149349. Accessed 28 July 2025.

“Biopolitics, Thanatopolitics and the Right to Life” by Muhammad Ali Nasir: Summary and Critique

“Biopolitics, Thanatopolitics and the Right to Life” by Muhammad Ali Nasir first appeared in Theory, Culture & Society in 2016, as part of the journal’s collection dedicated to critical theory and political philosophy.

"Biopolitics, Thanatopolitics and the Right to Life" by Muhammad Ali Nasir: Summary and Critique
Introduction: “Biopolitics, Thanatopolitics and the Right to Life” by Muhammad Ali Nasir

“Biopolitics, Thanatopolitics and the Right to Life” by Muhammad Ali Nasir first appeared in Theory, Culture & Society in 2016, as part of the journal’s collection dedicated to critical theory and political philosophy. The article holds significant value in literature and literary theory as it brings together Foucauldian concepts of biopolitics and governmentality with contemporary human rights jurisprudence—specifically Article 2 of the European Convention on Human Rights (ECHR)—to theorize the relationship between law, life, and political power. Nasir argues that the juridical interpretation of the right to life produces a differentiated governmental management of life: the right is applied universally, but not uniformly, across juridical subjects. He challenges the dominant thanatopolitical readings (such as those by Agamben and Mbembe) by emphasizing the complex interplay between life’s optimization and deprivation in legal practice. Through detailed analyses of key European Court of Human Rights cases—Finogenov v. Russia, Al-Skeini v. UK, and Pretty v. UK—Nasir demonstrates how law regulates both the preservation and permissible destruction of life, not merely through legal norms but via a network of institutional practices, expert knowledge, and political objectives. The article culminates in the concept of “biopolitical governmentality,” where human rights law becomes a vehicle through which life is managed, categorized, and made governable. Its contribution to literary and cultural theory lies in its nuanced critique of how normative legal texts are interwoven with discourses of power, sovereignty, and subjectivity—engaging directly with foundational thinkers such as Foucault, Agamben, and Esposito.

Summary of “Biopolitics, Thanatopolitics and the Right to Life” by Muhammad Ali Nasir

🧠 Structure Mapping (Expanded)

Core Argument:
The European Court of Human Rights’ interpretation of the right to life under Article 2 of the ECHR is not a straightforward commitment to universal human rights. Instead, it operates through a biopolitical rationality, wherein law functions as a technology of power that regulates, differentiates, and categorizes life—prioritizing some lives while rendering others more disposable.


1. 🧱 Theoretical Foundations

▪️ Michel Foucault – Biopolitics

  • Biopolitics describes how modern states manage populations not just through repression, but through mechanisms aimed at fostering life (e.g. health, hygiene, reproduction).
  • Shift from sovereign power (“make die or let live”) to biopower (“make live and let die”).

▪️ Giorgio Agamben – Thanatopolitics & Homo Sacer

  • Thanatopolitics = the deployment of death by political systems.
  • Agamben’s “homo sacer” designates a person excluded from the protection of law—someone who can be killed without legal consequence.
  • Nasir critiques Agamben for neglecting how law does not simply suspend itself but becomes active in the management of death.

▪️ Roberto Esposito – Immunization Paradigm

  • Law functions as an immunizing force, protecting life by selectively allowing its exposure to risk or death.
  • This logic underpins decisions where certain lives are ‘sacrificed’ for the greater good.

▪️ Achille Mbembe – Necropolitics

  • Power determines who may live and who must die.
  • Nasir extends Mbembe by locating this in the operational logic of human rights law, not just postcolonial violence.

2. ⚖️ Legal Context: Article 2 of the European Convention on Human Rights

  • Article 2(1): “Everyone’s right to life shall be protected by law.”
  • Positive Obligations: States must actively safeguard life (e.g., health care, police protection).
  • Negative Obligations: States must not take life unjustifiably.
  • The real jurisprudence, Nasir argues, reflects a differential application of these obligations depending on race, geography, national security, and vulnerability.

3. 🧪 Case Studies: Legal Biopolitics in Practice

1. Al-Skeini and Others v. United Kingdom (2011)

  • Background: British soldiers killed six Iraqi civilians during occupation in Basra.
  • Issue: Whether ECHR applies extraterritorially.
  • ECtHR Decision: The UK held responsible under Article 2.
  • Biopolitical Insight:
    • Extension of jurisdiction reveals how some foreign lives are included within legal care, not for universal rights, but for managing imperial accountability.
    • Law governs life even outside national borders, when sovereignty is asserted.

2. Finogenov v. Russia (2011)

  • Background: Russian security forces used chemical gas to end a theatre hostage crisis; 130 hostages died.
  • ECtHR Decision: State action was not illegal per se, but failure in rescue preparedness violated Article 2.
  • Biopolitical Insight:
    • Nasir highlights state prerogative to kill in emergency, but within technocratic frameworks of responsibility.
    • Life is sacrificed through authorized protocols, not outside the law but through it.

3. Pretty v. United Kingdom (2002)

  • Background: A woman with motor neurone disease wanted to legally seek assisted suicide.
  • ECtHR Decision: Denied her claim; right to life doesn’t include a right to die.
  • Biopolitical Insight:
    • Law denies autonomy in death, revealing that death itself is governed.
    • Sovereignty extends into the right not to die, asserting control over the timing and conditions of death.

4. 🧠 Key Concepts and Themes

🔹 Governmentality (Foucault)

  • Law is not merely a code of prohibition; it’s a productive regime that shapes how subjects live.
  • The ECtHR is seen as part of the apparatus that constructs life as governable—via medicine, security, and moral order.

🔹 Differentiated Life

  • Legal protections are unevenly distributed.
    • E.g., Western subjects receive stronger protection than racialized or foreign bodies.
  • Biopolitics produces a hierarchy of life: protected, neglected, and disposable.

🔹 Expert Knowledge and Authority

  • ECtHR judgments rely on medical, military, and security expertise to evaluate state conduct.
  • This reinforces technocratic governance, distancing decisions from moral or universalist principles.

🔹 Visibility and Legal Legibility

  • Only certain forms of life become visible to the law (e.g., citizens, soldiers, mothers).
  • Others remain in a zone of legal indistinction, where rights are voided by state necessity.

5. 🧬 Conclusion: Toward a Jurisprudence of Life and Death

  • The jurisprudence of the ECtHR is not neutral—it reflects bio-legal politics.
  • Human rights law, far from being a shield for life, is a tool of governance:
    • It rationalizes exceptions, inequalities, and authorized forms of killing.
  • Nasir proposes rethinking the role of legal institutions in reinforcing global regimes of inequality through the very framework meant to protect universal rights.
Theoretical Terms/Concepts in “Biopolitics, Thanatopolitics and the Right to Life” by Muhammad Ali Nasir

Term/ConceptExplanation (as per the article)Examples from the Article
BiopoliticsA form of politics where “life itself” is the object of power. The author argues it’s a complex governmental management of lives that includes not just deprivation (thanatopolitics) but also the protection and optimization of life through various techniques.The entire legal framework of the right to life (Article 2) is presented as a biopolitical tool that orients governmental techniques to manage populations. The case of Pretty v. the UK (euthanasia) shows biopolitics managing the end of life based on medical and legal norms about suffering and quality of life.
ThanatopoliticsThe “Janus-head” of biopolitics, referring to a politics of death where power determines who must die or whose life is reduced to being near death. The author sees this as a real but incomplete view of modern biopower.The article cites broader examples like Guantánamo Bay. Within its analysis, the lawful killing of terrorists in Finogenov v. Russia is an example of the state exercising its right to cause death, a key aspect of thanatopolitics.
The Right to Life (Article 2)Not an absolute shield but a governmental tool that regulates both the protection and the lawful deprivation of life. It operates by requiring a “proper discrimination of lives,” applying universally to all subjects but not uniformly, depending on their conduct and circumstances.In Finogenov v. Russia, the court applies Article 2 differently to terrorists, hostages, and state forces, permitting lethal force against the former while scrutinizing the state’s duty to protect the latter. In Al-Skeini v. the UK, the right is extended to non-citizens in a warzone, showing its function in regulating state violence.
Biopolitical GovernmentalityThe practical application of biopolitics. It describes how the management of life is achieved through a collection of institutions, knowledge, techniques, and rationalities. It is the “conduct of conduct” where legal rules insert themselves into social practices to govern life.The state’s response in Finogenov, which required an “entire assemblage” of police, counter-terrorist units, hospitals, and emergency wards, all operating under legal scrutiny. This also includes the use of expert knowledge (medical reports, autopsies) to legally justify actions.
Discrimination of LivesThe concept that the application of the right to life is grounded on a necessary differentiation between types of lives (e.g., terrorist vs. hostage, combatant vs. civilian). This allows the law to justify why some lives can be lawfully taken while others must be protected.In Finogenov, the terrorists are seen to have “desecrated their own dignity,” which justifies the state’s lethal counter-violence. The article argues that legal setups that more carefully discriminate lives are better able to justify the deprivation of life.
Jurisdictional LinkA legal connection created when a state exercises effective control and “public powers” over an area, even outside its sovereign territory. This link makes the state accountable for guaranteeing human rights to the people in that area.In Al-Skeini v. the UK, the British administration of southern Iraq created a jurisdictional link between the UK and the Iraqi deceased. This prevented a “vacuum of protection” and made the UK’s actions subject to the European Convention on Human Rights.
Contribution of “Biopolitics, Thanatopolitics and the Right to Life” by Muhammad Ali Nasir to Literary Theory/Theories

🔹 1. Post-Structuralist Theory

  • Core Contribution: The article critiques the universal applicability of legal concepts like the “right to life”, showing how their interpretation is contingent, performative, and differentially applied.
  • Key Point: Nasir exposes how law, rather than being a neutral arbiter, becomes a mechanism that classifies and fragments subjectivities.
  • Textual Reference: “The right to life applies universally but not uniformly to all juridical subjects” (Nasir, 2016, p. 2).
  • Relevance: Aligns with Derrida’s notion of différance and the instability of legal/ethical signifiers.

🔹 2. Biopolitical Literary Criticism

  • Core Contribution: Expands biopolitical frameworks (Foucault, Agamben, Mbembe) into literary and legal discourses by offering a case-based interpretation of how human rights function as technologies of life management.
  • Key Point: Literature can be read not just as representing life, but as engaging with the governance of life.
  • Textual Reference: “Article 2 orients governmental techniques to lives in order to ensure that both deprivation and protection of lives is lawful” (Nasir, 2016, p. 2).
  • Relevance: Offers tools for analyzing how contemporary novels stage questions of value, death, and legal personhood.

🔹 3. Critical Legal Studies / Law and Literature

  • Core Contribution: Demonstrates that human rights law operates as a discourse of legal biopower, where law does not merely reflect justice, but enacts selective death-making.
  • Key Point: Literary scholars can analyze how legal decisions and institutional language participate in narrating death and survival.
  • Textual Reference: “Law allows deprivation of terrorists’ lives so that their deaths are per definition just(ice)” (Nasir, 2016, p. 5).
  • Relevance: Opens literary texts to be read alongside case law as interlinked rhetorical and governmental apparatuses.

🔹 4. Postcolonial Theory

  • Core Contribution: Through the analysis of Al-Skeini v. UK, Nasir reveals how human rights laws are selectively extended across geopolitical boundaries, mirroring colonial hierarchies of whose lives matter.
  • Key Point: The article shows how legal jurisdiction reproduces imperial relations under the guise of humanitarian governance.
  • Textual Reference: “When it becomes difficult to discern a nation-state proper… subjects at present continue to remain within the protectable ambit of human rights” (Nasir, 2016, p. 8).
  • Relevance: Helps frame novels about war, occupation, and migration through lenses of extraterritoriality and unequal subjectivation.

🔹 5. Disability Studies / Medical Humanities

  • Core Contribution: Through Pretty v. UK, Nasir interrogates how biomedical knowledge and legal discourse intersect to define what counts as a life worth living.
  • Key Point: Legal recognition of suffering and dignity in terminal illness is dependent on the circulation of medical discourse.
  • Textual Reference: “Conditions of ‘degeneracy and incurability’ allow knowledge to circulate… establishing life expectancy and suffering” (Nasir, 2016, p. 10).
  • Relevance: Informs literary analysis of disabled characters or end-of-life narratives shaped by legal-medical institutions.

🔹 6. Sovereignty and Political Theology (Agambenian Theory)

  • Core Contribution: Nasir refines Agamben’s theory of thanatopolitics by showing that life remains tenuously tethered to legality, even in death zones like counter-terror operations.
  • Key Point: Rather than abandoning legality, law intensifies its role in regulating life’s termination.
  • Textual Reference: “This (terrorizing) life maintains a tenuous but nevertheless palpable link with its right to life” (Nasir, 2016, p. 6).
  • Relevance: Useful for analyzing state-sanctioned violence or characters in literary works caught in exceptions, camps, prisons, or wars.

🔹 7. Governmentality and Surveillance Studies

  • Core Contribution: Provides a Foucauldian analysis of how human rights law functions as a technology of conduct regulation, requiring institutional coordination across military, medical, and legal fields.
  • Key Point: Surveillance is implicit in the biopolitical governance of life and its optimization.
  • Textual Reference: “Legal regulation of lives remains connected with specific processes of knowledge and governmental techniques” (Nasir, 2016, p. 6).
  • Relevance: Applies to novels that stage bureaucratic control, institutional surveillance, and moral regulation.

🔹 8. Trauma and Memory Studies

  • Core Contribution: In Finogenov, the state’s obligation to explain and justify deaths shows how legal discourse functions as a memory device, encoding trauma through procedural narratives.
  • Key Point: Law itself becomes a repository and regulator of national trauma.
  • Textual Reference: “The relatives of victims should be provided with satisfactory explanations of deaths” (Nasir, 2016, p. 5).
  • Relevance: Connects with trauma theory in literature where legal or bureaucratic institutions serve as narrative agents of memory and forgetting.

🔹 9. Narratology / Genre Studies

  • Core Contribution: Nasir’s article is structured like a case-based narrative—inviting literary analysis of the form and structure of legal storytelling.
  • Key Point: The jurisprudence of the right to life functions not only legally but narratively, deploying characters (e.g. terrorists, civilians), plot arcs (e.g. emergencies), and resolutions (e.g. verdicts).
  • Textual Reference: “Law grants permission to execute counterterror moves based on the effectiveness of measures taken… later judged via feasible precautions” (Nasir, 2016, p. 4).
  • Relevance: Aligns with literary approaches analyzing law as a storytelling practice.
Examples of Critiques Through “Biopolitics, Thanatopolitics and the Right to Life” by Muhammad Ali Nasir
🖋️ Novel🧬 Biopolitical Themes⚰️ Thanatopolitics⚖️ Right to Life💬 Nasirian Analysis
1. The Ministry for the Future by Kim Stanley Robinson (2020)🌍 Climate emergency governance; international institutions regulating life to avoid extinction.🔥 Sacrifice of some populations (e.g., India heatwave) in global technocratic decisions.📜 Whose lives are worth saving becomes a legal-ethical dilemma in eco-justice.Law acts as an immunizing force, optimizing global life while justifying mass deaths under “emergency” biopolitics.
2. A Passage North by Anuk Arudpragasam (2021)🧠 Post-war trauma governed through silence, memory, and mental health discourses.🩸 Tamil lives depicted as residual, still exposed to necropolitical aftermath.🚫 Absence of legal redress reflects differential application of rights.Legal non-recognition of Tamil suffering illustrates Nasir’s critique of invisibility in legal life management.
3. Demon Copperhead by Barbara Kingsolver (2022)🚑 Public health system, foster care, and opioid crisis as technologies managing poor white lives.💊 Death becomes normalized through structural neglect.🆘 “Right to life” eroded by economic and pharmaceutical systems, not law directly.Law’s absence is a form of governance; optimization for some requires abandonment of others.
4. Chain-Gang All-Stars by Nana Kwame Adjei-Brenyah (2023)🎥 Reality-TV prison system commodifies life and death; prison as biopolitical institution.⚔️ State-sanctioned murder for entertainment; clear sovereign power over death.💀 Legal mechanisms permit killing; human rights law is suspended for convicts.Echoes Agamben’s homo sacer—inmates can be killed without legal repercussion. Nasir would note the legal visibility/invisibility toggle.
Criticism Against “Biopolitics, Thanatopolitics and the Right to Life” by Muhammad Ali Nasir

🔹 1. Overreliance on Legal Case Law as Theoretical Foundation

  • The argument depends heavily on ECtHR jurisprudence (especially Finogenov and Al-Skeini), potentially limiting its broader theoretical generalizability.
  • Critics may argue that this juridical formalism risks reducing complex biopolitical dynamics to institutional legal reasoning, thereby marginalizing other socio-political determinants.

🔹 2. Limited Engagement with Literary or Cultural Narratives

  • Although published in Theory, Culture & Society, the article does not engage with literary texts or cultural representations, which limits its relevance to cultural and literary theory in practice.
  • This lack of intertextuality may be seen as a missed opportunity to situate law within broader cultural narratives of life and death.

🔹 3. Ambiguity in Differentiating Biopolitics and Thanatopolitics

  • While Nasir critiques Agamben and Mbembe for emphasizing death, he does not provide a stable alternative to clarify how biopolitical governmentality differs structurally from thanatopolitical power.
  • The article oscillates between showing that law protects life and enables death without always clarifying the boundary between optimization and exclusion.

🔹 4. Lack of Marginal/Intersectional Perspective

  • Nasir’s legal analysis is largely gender-, race-, and class-neutral, which obscures the way biopolitical management intersects with identity categories (e.g., racial profiling, reproductive governance, or refugee bodies).
  • Critics may find the absence of intersectionality a major shortcoming in mapping how differentiated life operates in practice.

🔹 5. Technocratic Emphasis on Legal Precision

  • The article sometimes reads like a technical commentary on legal efficiency, such as the Court’s standards of investigation or procedural duties.
  • This may lead to the normalization of legal violence, as its procedural regulation is treated as sufficient for justice, rather than being critically interrogated for structural biases.

🔹 6. Reproduction of State-Centric Sovereignty

  • Nasir critiques sovereignty in theory but reifies the nation-state as the sole guarantor of human rights in practice.
  • His framework does not consider non-state actors, insurgent justice, or community-based forms of life protection, potentially reinforcing statist biopower.

🔹 7. Lack of Empirical Context or Voices of the Affected

  • The victims in Finogenov and Al-Skeini are analyzed abstractly, without attention to testimonial, personal, or affective dimensions of life lost or lived under legal violence.
  • This omission weakens the article’s engagement with embodied life and may appear overly analytic or emotionally disengaged.

🔹 8. Uncritical Use of Medical and Military Discourses

  • Nasir relies heavily on medical and military epistemes (e.g., efficiency, feasibility, necessity), which are treated as neutral expert systems.
  • Critics from STS (Science and Technology Studies) or Critical Medical Humanities might argue that this reproduces the authority of biopower, rather than critically dissecting it.
Representative Quotations from “Biopolitics, Thanatopolitics and the Right to Life” by Muhammad Ali Nasir with Explanation
QuotationExplanation
1. “The right to life applies universally but not uniformly to all juridical subjects.”Nasir underscores that although legal protections appear universal, in practice they are differentially applied based on who or what kind of life is at stake—this is a key thesis of biopolitical governmentality.
2. “Law allows deprivation of terrorists’ lives so that their deaths are per definition just(ice).”This exposes how legal frameworks normalize state violence by designating certain lives (e.g., terrorists) as legitimate targets, turning death into a juridical act of justice.
3. “Legal regulation of lives remains connected with specific processes of knowledge and governmental techniques.”Here, Nasir links law with Foucault’s theory of governmentality, arguing that law does not operate alone but through expert systems (e.g., medicine, military, forensic) that define, manage, and discipline life.
4. “This (terrorizing) life maintains a tenuous but nevertheless palpable link with its right to life.”Even individuals deemed as threats (e.g., terrorists) are not completely outside the legal regime; their right to life persists, however tenuously, within procedural obligations.
5. “The jurisprudence of Article 2 is theoretically appreciable only in a ‘politics of life’.”Nasir highlights that legal interpretation of life and death can’t be detached from the broader context of biopolitics—the law operates through and within the political governance of life itself.
6. “In order to govern life… Article 2 requires a strict proportionality.”This reflects how law must balance life and death within a rational framework—violence must be proportionate, planned, and documented, thus governed through legal rationality.
7. “Only those politico-legal assemblages that operate within the threshold of legality can lawfully deprive others of their lives.”Legal legitimacy for taking life is conditioned on conformity to juridical norms, reinforcing the sovereignty of law as a gatekeeper of both death and protection.
8. “Article 2 ties the claims of subjects with the juridical field… determined by weapons, rules, and political necessities.”This illustrates how law governs life not in abstraction, but in concrete conflict zones and through material apparatuses like warfare, policy, and technology.
9. “In the aftermath of violence, law requires the state to provide a satisfactory explanation of deaths.”Nasir focuses on the procedural duty of the state to retrospectively justify deaths under its watch—turning death into an administrative event to be explained, audited, and possibly excused.
10. “Biopolitical governmentality… governs conduct by tying life’s value to its legal manageability.”The core of Nasir’s thesis: human rights laws manage life not through ethical concern but via systems that measure, judge, and act on life’s viability under normative frameworks.
Suggested Readings: “Biopolitics, Thanatopolitics and the Right to Life” by Muhammad Ali Nasir
  1. Somit, Albert. “Biopolitics.” British Journal of Political Science, vol. 2, no. 2, 1972, pp. 209–38. JSTOR, http://www.jstor.org/stable/193357. Accessed 28 July 2025.
  2. Kelly, M. G. E. “International Biopolitics: Foucault, Globalisation and Imperialism.” Theoria: A Journal of Social and Political Theory, vol. 57, no. 123, 2010, pp. 1–26. JSTOR, http://www.jstor.org/stable/41802469. Accessed 28 July 2025.
  3. Hughes, James J. “Biopolitics.” Keywords for Environmental Studies, edited by Joni Adamson et al., vol. 3, NYU Press, 2016, pp. 22–24. JSTOR, http://www.jstor.org/stable/j.ctt15zc5kw.11. Accessed 28 July 2025.
  4. Alsheh, Yehonatan. “The Biopolitics of Corpses of Mass Violence and Genocide.” Human Remains and Mass Violence: Methodological Approaches, edited by Jean-Marc Dreyfus and Élisabeth Anstett, Manchester University Press, 2014, pp. 12–43. JSTOR, http://www.jstor.org/stable/j.ctt1wn0rw2.6. Accessed 28 July 2025.

“The Toys” by Coventry Patmore: A Critical Analysis

“The Toys” by Coventry Patmore first appeared in 1863 as part of his poetry collection The Victories of Love.

"The Toys" by Coventry Patmore: A Critical Analysis
Introduction: “The Toys” by Coventry Patmore

“The Toys” by Coventry Patmore first appeared in 1863 as part of his poetry collection The Victories of Love. The poem is a poignant meditation on fatherhood, guilt, and divine mercy. It recounts a moment when the speaker, a widowed father, punishes his young son for disobedience and later finds the child asleep, having arranged a few humble possessions—”a box of counters,” “a piece of glass,” “shells”—to comfort himself in the absence of his mother’s gentler love. The father, struck by the innocent sorrow and quiet resilience of his son, weeps in remorse and turns in prayer to God, drawing a parallel between his own flawed parenting and the divine perspective on human frailty. The main idea revolves around human fallibility, childlike innocence, and the hope for divine compassion. The poem’s popularity stems from its deeply emotional narrative, universal theme of parental regret, and its moving final image of God forgiving humanity’s “childishness” just as a father forgives his child. Patmore’s direct and tender tone, combined with the vivid imagery of the child’s “toys” symbolizing lost innocence, continues to resonate with readers.

Text: “The Toys” by Coventry Patmore

My little Son, who look’d from thoughtful eyes

And moved and spoke in quiet grown-up wise,

Having my law the seventh time disobey’d,

I struck him, and dismiss’d

With hard words and unkiss’d,

His Mother, who was patient, being dead.

Then, fearing lest his grief should hinder sleep,

I visited his bed,

But found him slumbering deep,

With darken’d eyelids, and their lashes yet

From his late sobbing wet.

And I, with moan,

Kissing away his tears, left others of my own;

For, on a table drawn beside his head,

He had put, within his reach,

A box of counters and a red-vein’d stone,

A piece of glass abraded by the beach

And six or seven shells,

A bottle with bluebells

And two French copper coins, ranged there with careful art,

To comfort his sad heart.

So when that night I pray’d

To God, I wept, and said:

Ah, when at last we lie with tranced breath,

Not vexing Thee in death,

And Thou rememberest of what toys

We made our joys,

How weakly understood

Thy great commanded good,

Then, fatherly not less

Than I whom Thou hast moulded from the clay,

Thou’lt leave Thy wrath, and say,

“I will be sorry for their childishness.”

Annotations: “The Toys” by Coventry Patmore
Original LineSimple MeaningLiterary Devices
My little Son, who look’d from thoughtful eyesMy young son had wise, serious-looking eyes.Imagery, Tone (affectionate)
And moved and spoke in quiet grown-up wise,He acted and spoke like a calm, mature adult.Tone (admiration), Irony
Having my law the seventh time disobey’d,He broke my rule for the seventh time.Hyperbole, Tone (irritation)
I struck him, and dismiss’dI hit him and sent him away.Action, Tone (harsh)
With hard words and unkiss’d,I scolded him and didn’t show affection.Alliteration, Contrast (affection withheld)
His Mother, who was patient, being dead.His gentle mother had passed away.Contrast, Tone (sorrowful)
Then, fearing lest his grief should hinder sleep,I worried his sadness might keep him awake.Foreshadowing, Tone (regretful)
I visited his bed,I went to check on him in bed.Tone (concerned)
But found him slumbering deep,He was already sleeping soundly.Tone (relief)
With darken’d eyelids, and their lashes yetHis eyelids were dark, and his lashesImagery (visual), Tone (tender)
From his late sobbing wet.Still wet from crying.Pathos, Sensory Imagery
And I, with moan,I made a sorrowful sound.Onomatopoeia, Tone (guilt)
Kissing away his tears, left others of my own;I kissed away his tears but cried myself.Parallelism, Emotional irony
For, on a table drawn beside his head,On the bedside table,Setting imagery
He had put, within his reach,He placed nearby,Tone (touching)
A box of counters and a red-vein’d stone,Simple toys like beads and a red stone.Symbolism, Visual Imagery
A piece of glass abraded by the beachA smooth piece of sea glass,Sensory imagery, Symbolism
And six or seven shells,A few seashells,Imagery, Enumeration
A bottle with bluebellsA small bottle filled with flowers,Symbolism (innocence), Color imagery
And two French copper coins, ranged there with careful art,Two coins arranged carefully.Symbolism (emotional value), Alliteration
To comfort his sad heart.To soothe his sorrow.Tone (sympathetic), Theme (childhood grief)
So when that night I pray’dThat night I prayed,Spiritual tone
To God, I wept, and said:I cried as I spoke to God:Tone (penitence)
Ah, when at last we lie with tranced breath,When we die,Euphemism, Tone (solemn)
Not vexing Thee in death,No longer disobeying You,Religious imagery
And Thou rememberest of what toysAnd You remember our simple pleasures,Metaphor (toys = human joys)
We made our joys,That made us happy,Theme (innocence)
How weakly understoodHow poorly we understoodTone (self-critical)
Thy great commanded good,Your divine expectations,Allusion (Biblical)
Then, fatherly not lessLike a father,Simile (God = father)
Than I whom Thou hast moulded from the clay,Like me, whom You created,Allusion (Genesis), Metaphor (clay = human fragility)
Thou’lt leave Thy wrath, and say,You will forgive us and say,Tone (hopeful)
“I will be sorry for their childishness.”“I forgive their childish mistakes.”Theme (Divine Mercy), Metaphor
Literary And Poetic Devices: “The Toys” by Coventry Patmore
DeviceExample from the PoemExpanded Explanation
Alliteration 🔁“With hard words and unkiss’d”Repetition of initial consonant sounds (“w”) creates emphasis and a rhythmic harshness, reflecting the father’s anger.
Allusion 📖“Thou hast moulded from the clay”Refers to Biblical creation (Genesis), emphasizing human fragility and God as a compassionate creator.
Anaphora 🔂“And…” repeated in linesRepetition of “And” at line beginnings enhances flow and builds emotional intensity.
Antithesis ⚖️“Not vexing Thee in death” vs. “Thou’lt leave Thy wrath”Juxtaposes judgment and forgiveness to contrast divine justice with mercy.
Assonance 🎵“slumbering deep” / “lashes yet”Repeated vowel sounds produce internal harmony and mirror the calmness of sleep or sorrow.
Contrast 🔄The father’s harshness vs. the mother’s patienceHighlights opposing emotional responses, emphasizing the father’s regret and the lost maternal gentleness.
Euphemism 🌙“we lie with tranced breath”Softens the mention of death to align with the poem’s gentle, reflective tone.
Foreshadowing 🔮“fearing lest his grief should hinder sleep”Suggests the emotional consequences and sets up the father’s later remorse.
Hyperbole 🔺“the seventh time disobey’d”Exaggerates the number to justify the father’s frustration and dramatize his reaction.
Imagery 🖼️“bluebells”, “red-vein’d stone”, “shells”Vivid sensory descriptions create visual scenes and reflect the child’s inner emotional world.
Irony 🎭Child uses toys to self-comfort while father prays for forgivenessThe innocent actions of the child contrast with the father’s complex guilt, underscoring emotional disconnect.
Metaphor 🔗“toys” = joys, “clay” = humanityAbstract ideas (joy, human weakness) are expressed through symbolic objects and Biblical references.
Onomatopoeia 🔊“moan”The word imitates sound, expressing the father’s grief audibly and enhancing emotional depth.
Parallelism 📏“Kissing away his tears, left others of my own.”Balanced structure mirrors the father’s emotional transformation and shared pain.
Pathos 💔“lashes yet from his late sobbing wet”Evokes compassion and sadness in the reader through tender emotional detail.
Personification 👤“God… rememberest of what toys we made our joys”God is spoken of in human terms, capable of memory and regret, creating intimacy.
Repetition 🔁Repetition of “And”, “Thou”Emphasizes spiritual rhythm and highlights emotional or theological points.
Rhyme 🎼“said”/”breath”/”death” / “own”/”stone”Provides musical quality and unifies stanzas, helping pace and emotional resonance.
Simile 🟰“fatherly not less than I…”Compares God’s mercy to that of a human father, highlighting divine understanding.
Symbolism 🧸“box of counters”, “coins”, “bluebells”These “toys” symbolize the small, innocent comforts of a grieving child, representing human fragility and hope.
Themes: “The Toys” by Coventry Patmore

🧸 1. Parental Love and Regret: “The Toys” by Coventry Patmore explores the tender but flawed love of a grieving father who punishes his son in anger and later feels remorse. The father’s strict reaction—“I struck him, and dismiss’d / With hard words and unkiss’d”—reveals his struggle to balance discipline and affection. After seeing the child asleep, with his “lashes yet from his late sobbing wet,” the father is overcome with sorrow. The scene of the boy arranging his little toys—“a box of counters,” “a red-vein’d stone,” and “two French copper coins”—symbolizes the innocent ways children cope with sadness. Patmore uses pathos and imagery to highlight how love is often recognized more deeply after hurt is caused. The father’s kiss and tears—“Kissing away his tears, left others of my own”—capture the emotional transformation, where punishment gives way to compassion.


🙏 2. Divine Mercy and Forgiveness: “The Toys” by Coventry Patmore builds to a spiritual realization where the speaker compares his earthly fatherhood to God’s divine parenthood. After observing his child’s vulnerability and innocence, the speaker turns to prayer, asking God to forgive humanity in the same way a parent might forgive a child. The powerful metaphor—“Thou rememberest of what toys / We made our joys”—suggests that just as children delight in small things and act out of weakness, so do humans fall short of divine expectations. The final lines—“I will be sorry for their childishness”—express hope that God, like a gentle parent, will choose mercy over wrath. Through this theme, Patmore blends religious allusion, simile, and metaphor, painting a picture of divine compassion that mirrors human emotion.


🧒 3. Childhood Innocence and Emotional Fragility: “The Toys” by Coventry Patmore portrays the emotional world of a child as both delicate and deeply expressive. The son’s quiet, “grown-up wise” behavior contrasts with his tender inner sorrow. When punished, he turns not to defiance, but to comfort himself with simple treasures—“a piece of glass abraded by the beach,” “a bottle with bluebells.” These “toys” symbolize the fragile defenses children create against pain. Patmore’s use of symbolism, imagery, and tone underscores how even small objects become sacred emblems of resilience and emotional life. The boy’s sadness is not expressed in words but in the quiet arrangement of items, which speaks volumes about the depth of childhood sensitivity.


🧎 4. Guilt and Spiritual Reflection: “The Toys” by Coventry Patmore is also a meditation on personal guilt and the possibility of redemption. After reacting harshly, the father experiences regret so profound it moves him to weep and pray. The emotional shift—from control to vulnerability—mirrors a spiritual awakening. The line “Then, fatherly not less than I… Thou’lt leave Thy wrath” shows the speaker asking God to act as he now strives to act: with love and understanding. Patmore uses contrast (between judgment and mercy), tone shifts, and first-person narrative to guide the reader through an internal journey of remorse and spiritual longing. The father’s guilt transforms into a prayer for divine empathy—not just for himself, but for all humankind.

Literary Theories and “The Toys” by Coventry Patmore
Literary TheoryApplication to “The Toys”Poem References / Evidence
Psychoanalytic Theory 🧠Explores the father’s internal conflict between authority and affection, guilt, and repression. His shift from anger to remorse reflects Freudian dynamics—superego (discipline), id (anger), and ego (guilt).“I struck him, and dismiss’d / With hard words and unkiss’d” shows repression and control; “Kissing away his tears, left others of my own” reveals release of buried emotion.
Christian/Religious Criticism ✝️Frames the poem as a spiritual parable of sin, forgiveness, and divine mercy. The father compares himself to God and hopes for compassion in judgment.“Thou rememberest of what toys / We made our joys” and “I will be sorry for their childishness” reflect a plea for divine empathy and Christian forgiveness.
Feminist Theory ♀️Highlights gender roles, especially the absence of the mother and the emotional limitations of the father. The dead mother is idealized as patient, contrasting with the father’s harshness.“His Mother, who was patient, being dead” presents maternal gentleness as lost, implying emotional imbalance in the father’s parenting.
Structuralism 🧩Focuses on the binary oppositions that shape meaning in the poem: discipline vs. love, parent vs. child, divine vs. human, life vs. death. These paired contrasts structure the father’s realization.“Not vexing Thee in death” vs. “Thou’lt leave Thy wrath”; child’s toys vs. adult guilt; “slumbering deep” vs. “tranced breath” (death).
Critical Questions about “The Toys” by Coventry Patmore

1. How does guilt transform the father’s understanding of love in “The Toys” by Coventry Patmore?

In “The Toys” by Coventry Patmore, guilt acts as a catalyst for the father’s emotional awakening and deepened understanding of parental love. Initially, the father reacts with stern discipline—“I struck him, and dismiss’d / With hard words and unkiss’d”—displaying a love constrained by law and authority. However, upon finding his son peacefully asleep, yet emotionally wounded—“lashes yet from his late sobbing wet”—the father experiences overwhelming remorse. His physical action of “kissing away his tears” is symbolic of an internal transformation. Guilt enables him to recognize the limits of harsh parenting and ultimately opens his heart to tenderness. Through this realization, he not only softens his view toward his child but also pleads for divine understanding, paralleling his personal guilt with humanity’s broader spiritual need for mercy.


🧒 2. What role do the “toys” play in symbolizing innocence and emotional resilience in “The Toys” by Coventry Patmore?

In “The Toys” by Coventry Patmore, the objects described as “toys” symbolize the child’s innocence, emotional coping mechanisms, and silent resilience. The boy’s carefully arranged items—“a box of counters and a red-vein’d stone… a bottle with bluebells”—are not mere playthings but emotional anchors. These everyday objects take on deep symbolic meaning as they represent the quiet ways children deal with sadness, especially in the absence of maternal comfort (“His Mother… being dead”). The fact that the child arranges them “with careful art” highlights his inner strength and the need to find beauty and order amidst emotional chaos. These “toys” become a metaphor not just for childish pleasure but also for the fragile means by which the vulnerable preserve their sense of security.


🙏 3. How does “The Toys” by Coventry Patmore reflect the relationship between human frailty and divine forgiveness?

“The Toys” by Coventry Patmore draws a powerful parallel between the father’s human fallibility and his hope for divine mercy. After punishing his child in anger, the father is struck by the boy’s vulnerable innocence and turns in prayer to God. In doing so, he envisions God reflecting on humanity’s limited joys—“of what toys we made our joys”—and forgiving human childishness. This metaphor equates human flaws to the mistakes of a child, and suggests that just as a parent may feel “sorry for their childishness,” so too might God show compassion. The poem’s conclusion—“Thou’lt leave Thy wrath”—expresses the universal longing for a forgiving deity who understands weakness. Patmore fuses personal experience with spiritual insight, making human repentance a mirror of divine grace.


⚖️ 4. In what ways does “The Toys” by Coventry Patmore critique patriarchal authority and emotional suppression?

“The Toys” by Coventry Patmore subtly critiques the emotional rigidity of patriarchal authority through the character of the father, who initially upholds control through punishment rather than compassion. The line “With hard words and unkiss’d” shows how the father withholds affection, conforming to a stoic model of masculinity. The contrast with the deceased mother—“His Mother, who was patient, being dead”—highlights the loss of nurturing and emotional balance within the household. This imbalance causes the father to suppress his own sorrow until he sees his son’s vulnerability. Only then does he weep, confess, and seek redemption. The poem suggests that true authority requires emotional intelligence and that suppressing feeling—especially in men—leads to harm and regret. It calls for a more humane, emotionally responsive form of fatherhood.


Literary Works Similar to “The Toys” by Coventry Patmore
  • “My Papa’s Waltz” by Theodore Roethke
    → Like “The Toys”, it explores a complex father-son relationship marked by both affection and discomfort.
  • “The Chimney Sweeper” (Songs of Innocence) by William Blake
    → Shares Patmore’stheme of childhood innocence amidst suffering and a plea for divine compassion.
  • “Little Boy Crying” by Mervyn Morris
    → Examines a father’s internal conflict and guilt after disciplining his child, echoing Patmore’s remorse.
  • “Those Winter Sundays” by Robert Hayden
    → Reflects on unspoken paternal love and the retrospective recognition of a father’s emotional restraint, similar to Patmore’s reflective tone.
  • “Requiem” by Robert Louis Stevenson
    → Shares a sense of spiritual resignation and peace with death, akin to the final reflective prayer in “The Toys”.
Representative Quotations of “The Toys” by Coventry Patmore
🔖 Quotation🧠 Contextual Interpretation📚 Theoretical Perspective
“I struck him, and dismiss’d / With hard words and unkiss’d”Shows the father’s harsh punishment and emotional suppression after repeated disobedience.Psychoanalytic Theory 🧠 – Reveals repressed guilt and authoritarian control.
“His Mother, who was patient, being dead.”Highlights the absence of maternal care and emotional softness, increasing the child’s vulnerability.Feminist Theory ♀️ – Represents gendered roles and the emotional void left by the mother.
“fearing lest his grief should hinder sleep”Indicates the father’s internal conflict and eventual concern for his son’s emotional well-being.Psychoanalytic Theory 🔍 – The superego prompts guilt and concern.
“lashes yet from his late sobbing wet”Vivid image of the boy’s recent crying, evoking deep sympathy.Pathos & Reader Response 💔 – Engages the reader’s empathy and emotional connection.
“Kissing away his tears, left others of my own”Turning point of remorse: the father comforts the son and confronts his own guilt.Moral/Spiritual Criticism ✝️ – A redemptive gesture mirroring confession and forgiveness.
“a box of counters and a red-vein’d stone”One of several symbolic items arranged by the boy to comfort himself—child’s quiet grief.Symbolism & Structuralism 🧩 – Toys symbolize emotional resilience and innocence.
“To comfort his sad heart”Summarizes the boy’s emotional need and self-soothing behavior using symbolic objects.Reader Response & Childhood Studies 🧒 – Centers child’s emotional autonomy.
“Ah, when at last we lie with tranced breath”A spiritual reflection on mortality and the hope of peace in death.Religious/Existential Theory ⚰️ – Frames human life as fragile and spiritually significant.
“And Thou rememberest of what toys / We made our joys”Metaphor comparing human joys to toys—small, innocent, and often misunderstood.Christian Allegory ✝️ – Suggests humans are like children before God.
“I will be sorry for their childishness.”The imagined words of a merciful God, expressing divine compassion for human frailty.Theological Humanism & Divine Mercy 🕊️ – Envisions a forgiving, father-like deity.
Suggested Readings: “The Toys” by Coventry Patmore
  1. Edmond, Rod. “Death Sequences: Patmore, Hardy, and the New Domestic Elegy.” Victorian Poetry, vol. 19, no. 2, 1981, pp. 151–65. JSTOR, http://www.jstor.org/stable/40035467. Accessed 23 July 2025.
  2. Gwynn, Aubrey. “A Daughter of Coventry Patmore.” Studies: An Irish Quarterly Review, vol. 13, no. 51, 1924, pp. 443–56. JSTOR, http://www.jstor.org/stable/30093638. Accessed 23 July 2025.
  3. Russell, Matthew. “Coventry Patmore.” The Irish Monthly, vol. 5, 1877, pp. 529–38. JSTOR, http://www.jstor.org/stable/20502039. Accessed 23 July 2025.
  4. JONES, EWAN. “COVENTRY PATMORE’S CORPUS.” ELH, vol. 83, no. 3, 2016, pp. 839–72. JSTOR, http://www.jstor.org/stable/26173880. Accessed 23 July 2025.

“Biopolitics, Dominance, and Critical Theory” by Nancy Meyer-Emerick: Summary and Critique

“Biopolitics, Dominance, and Critical Theory” by Nancy Meyer-Emerick first appeared in Administrative Theory & Praxis, Vol. 26, No. 1 (March 2004), published by Taylor & Francis.

"Biopolitics, Dominance, and Critical Theory" by Nancy Meyer-Emerick: Summary and Critique
Introduction: “Biopolitics, Dominance, and Critical Theory” by Nancy Meyer-Emerick

“Biopolitics, Dominance, and Critical Theory” by Nancy Meyer-Emerick first appeared in Administrative Theory & Praxis, Vol. 26, No. 1 (March 2004), published by Taylor & Francis. This influential article bridges biopolitical theory and critical theory, proposing that the patterns of dominance, hierarchy, and submission so central to Frankfurt School critical thought may also be biologically ingrained in human nature. Meyer-Emerick draws upon evolutionary political science—particularly the work of Somit and Peterson—to argue that predispositions toward authority and obedience are not merely social constructions but possibly rooted in genetic legacy. She juxtaposes this with Foucault’s conception of biopolitics, emphasizing how power operates over biological life to create self-regulating, compliant subjects. The paper further incorporates Elisabeth Noelle-Neumann’s “spiral of silence” to demonstrate how fear of social isolation can suppress dissent and reinforce dominant ideologies. Significantly, the article challenges the artificial divide between biology and political thought, urging public administration to integrate biopolitical insights for a more comprehensive understanding of bureaucratic dominance and false consciousness. In literary theory and critical scholarship, this work deepens interpretations of hegemony, not as solely ideological, but as a condition intertwined with human evolutionary behavior, thus complicating the emancipatory ambitions of critical praxis.

Summary of “Biopolitics, Dominance, and Critical Theory” by Nancy Meyer-Emerick

🔍 1. Linking Biopolitics and Critical Theory

  • Meyer-Emerick explores the intersection of biopolitical theory and critical theory, suggesting that domination and false consciousness may stem not only from social constructs but also from evolutionary traits.
  • ⬩ “Critical theorists were accurate in their analysis of the domination and control that fosters false consciousness and one-dimensional life” (Meyer-Emerick, 2004, p. 1).
  • ⬩ She aims to show that “bureaucratic pathology… may be deeply rooted in human nature” (p. 1).

🧬 2. Evolutionary Roots of Obedience and Hierarchy

  • Humans may have inherited tendencies toward hierarchy, submission, and obedience.
  • ⬩ “We may have ‘a genetic bias towards hierarchy, dominance, and submission’” (Somit & Peterson, 1997, as cited in Meyer-Emerick, 2004, p. 1).
  • ⬩ “Disobedience is a rarely encountered political phenomenon” (Somit & Peterson, 1997, p. 70).

📺 3. Spiral of Silence and Media Control (Noelle-Neumann)

  • The media contributes to social conformity by silencing dissenting voices through fear of isolation.
  • ⬩ “People suffer so much when they sense others avoiding them that they can be ‘manipulated as easily by their own sensitivity as by a bridle’” (Noelle-Neumann, 1993, as cited in Meyer-Emerick, 2004, p. 2).
  • ⬩ The spiral of silence “preserved…by the individual’s fear of isolation and…demand…that we conform” (p. 7).

📚 4. Critical Theory’s Emphasis on False Consciousness

  • Based in Frankfurt School thought, critical theory asserts that capitalism manufactures false consciousness through media, administration, and bureaucracy.
  • ⬩ “One-dimensionality…prevents people from freely pursuing their own interests” (Marcuse, 1964, as cited in Meyer-Emerick, 2004, p. 3).
  • ⬩ “Administration…reflects some form of domination” (p. 3).

🏛️ 5. Biopolitics from Political Science vs. Foucault

  • Political science-based biopolitics emphasizes genetic predispositions and biological evolution.
  • Foucault’s concept focuses on how power regulates life via governmentality and knowledge production.
  • ⬩ “Power is situated and exercised at the level of life, the species, the race” (Foucault, 1978, as cited in Meyer-Emerick, 2004, p. 4).
  • ⬩ “Government gained more knowledge about individuals and therefore had greater power over them” (p. 3–4).

🧠 6. Bureaucracy and Domination

  • Bureaucracy is viewed as a self-reinforcing mechanism of control, aligning with both critical theory and biopolitical insights.
  • ⬩ “The more there is, the more we need it…administrative agencies fill the gap that they themselves create” (p. 4).
  • ⬩ Bureaucrats are less likely to critique their own role due to benefits they gain from the system (p. 4).

🧬 7. Challenges of Applying Biopolitics

  • Biopolitics remains marginal in public administration due to resistance from ideological, religious, and methodological camps.
  • ⬩ “Many…do not believe in or have serious doubts about evolution” (Somit & Peterson, 1997, p. 102).
  • ⬩ “Public administration…difficult to identify a mainstream at all” (Losco, 1994, as cited on p. 9).

🚫 8. Legacy and Misuse of Social Darwinism

  • Misuse of evolutionary theory (e.g., Social Darwinism, racism, sexism) contributed to skepticism toward biological explanations in social sciences.
  • ⬩ “Gross misappropriation…discredited Social Darwinism” (Meyer-Emerick, 2004, p. 10).
  • ⬩ “Prejudiced generations of non-biological scholars against Darwin’s work” (Wahlke, 2001, as cited on p. 10).

💡 9. Potential for Emancipation and Practice

  • Though somber, the paper ends with possibilities for change, referencing reciprocal altruism, cultural indoctrinability, and critical pedagogy.
  • ⬩ “Reciprocal altruism…beneficial to them” (p. 11).
  • ⬩ “Helper role…enlighten citizens and give them access to the policy dialogue” (Box, 1998, as cited on p. 12).
  • ⬩ “Plurality of resistances…each of them a special case” (Foucault, 1978, p. 96).
Theoretical Terms/Concepts in “Biopolitics, Dominance, and Critical Theory” by Nancy Meyer-Emerick
📘 Concept/Term🧠 Explanation📌 Example from Article📖 Supporting Quote with Citation
BiopoliticsThe study of how biology and evolutionary traits shape political behavior and systems.Public administration may reflect evolutionary predispositions toward obedience.“Current research in biopolitics implies that the domination…may be deeply rooted in human nature.” (Meyer-Emerick, 2004, p. 1)
False ConsciousnessA critical theory idea describing how individuals unknowingly accept and reinforce systems that oppress them.Media promotes values that prevent people from recognizing their real interests.“People are dominated by a false consciousness created…to preserve the hegemony of those in power.” (p. 3)
Hierarchy and DominanceThe idea that humans may be genetically predisposed to form and obey social hierarchies.Social primates and humans exhibit hierarchical behaviors across history.“Our species’ evolutionary history has left Homo sapiens genetically endowed with certain social and political behavioral tendencies.” (p. 4)
Spiral of SilenceA theory by Noelle-Neumann explaining how people stay silent to avoid isolation when they believe their views are unpopular.Citizens self-censor opinions due to perceived media consensus.“People suffer so much when they sense others avoiding them that they can be ‘manipulated as easily by their own sensitivity as by a bridle.’” (p. 2)
Authoritarian PersonalityA psychological type identified by Adorno et al. marked by submission to authority and conventionalism, linked to support for fascist regimes.Seen in both Nazi Germany and the U.S. context.“Inclined to submit blindly to power and authority.” (Adorno et al., 1982, as cited in Meyer-Emerick, 2004, p. 3)
One-DimensionalityA concept from Herbert Marcuse describing individuals who are absorbed into consumer capitalist culture, unable to think critically or imagine alternatives.People conform to media-driven life without questioning dominant narratives.“This domination fosters a one-dimensionality…that prevents people from freely pursuing their own interests.” (p. 3)
GovernmentalityFoucault’s term for the way modern states subtly manage populations by shaping behaviors and desires without overt force.Citizens come to “self-discipline” in line with government goals.“Government gained more knowledge about individuals and therefore had greater power over them.” (p. 4)
Docility / IndoctrinabilityThe idea that humans can adopt cultural norms that run counter to natural tendencies, allowing both conformity and resistance.Celibacy as an example of overriding evolutionary drives.“Our ability to act in accordance with cultural beliefs that actually run counter to…innate behavioral tendencies.” (Somit & Peterson, 1997, as cited on p. 11)
Reciprocal AltruismA biological theory suggesting people help others with the expectation that the favor will be returned, supporting cooperation beyond kin.Advocated as a human trait that supports ethical public administration.“People recognize that aiding others is beneficial to them.” (p. 11)
Contribution of “Biopolitics, Dominance, and Critical Theory” by Nancy Meyer-Emerick to Literary Theory/Theories

1. Contribution to Critical Theory (Frankfurt School)

  • 📌 Integrates evolutionary explanations into Frankfurt School analysis of false consciousness, bureaucracy, and ideological control.
  • 📖 “Critical theorists were accurate in their analysis of the domination and control that fosters false consciousness and one-dimensional life.” (Meyer-Emerick, 2004, p. 1)
  • ⬩ Offers a naturalized basis for Marcuse’s idea of one-dimensionality by linking it to biological tendencies toward conformity and hierarchy.
  • 📖 “This domination fosters a one-dimensionality…that prevents people from freely pursuing their own interests.” (p. 3)
  • ⬩ Supports Adorno’s concept of the authoritarian personality by situating it within evolutionary behavior.
  • 📖 “Inclined to submit blindly to power and authority.” (Adorno et al., 1982, as cited in Meyer-Emerick, 2004, p. 3)

📚 2. Contribution to Ideology and Subject Formation

  • 📌 Extends Althusserian ideas of interpellation by explaining how obedience and conformity may stem not just from ideology but also from biological predispositions.
  • 📖 “Our species’ evolutionary history has left Homo sapiens genetically endowed with certain social and political behavioral tendencies.” (p. 4)
  • ⬩ Proposes that subjects may be biologically conditioned to accept their roles in dominant systems, reinforcing the illusory freedom often critiqued in literary texts.

📺 3. Contribution to Media Theory (Spiral of Silence and Cultural Reproduction)

  • 📌 Noelle-Neumann’s spiral of silence complements media studies and poststructural literary theory by showing how media shapes social norms and discursive silence.
  • 📖 “People suffer so much when they sense others avoiding them that they can be ‘manipulated as easily by their own sensitivity as by a bridle.’” (p. 2)
  • ⬩ Contributes to theories of hegemony (e.g., Gramsci) and media control in literature by explaining why dissent is often muted in characters and real-world readers.

🧬 4. Contribution to Posthumanism and Biopolitics in Literature

  • 📌 Incorporates Foucault’s biopolitics, linking it with natural sciences, encouraging literary scholars to read texts through biological regimes of power.
  • 📖 “Power is situated and exercised at the level of life, the species, the race.” (Foucault, 1978, as cited in Meyer-Emerick, 2004, p. 4)
  • ⬩ Emphasizes biopower and population control as key interpretive frameworks in literature exploring health, governance, and surveillance.

🧠 5. Contribution to Evolutionary Literary Theory

  • 📌 Offers a nuanced challenge to purely culturalist interpretations by introducing evolutionary political behavior as relevant to literary character development and plot.
  • 📖 “Social primates display dominance behavior; in every instance so far observed, they also live in hierarchical social…structures.” (p. 6)
  • ⬩ Suggests that human characters’ tendencies toward hierarchy, submission, or rebellion in literature may mirror evolved survival strategies.

🕊️ 6. Implications for Resistance and Literary Emancipation

  • 📌 Reinvigorates the notion of emancipatory potential in literature by locating it within human idiosyncrasy and capacity for cultural override.
  • 📖 “It is the idiosyncrasies of individuals within the species population where the greatest potential for ‘immanent critique’ and emancipation may persist.” (p. 11)
  • ⬩ Encourages critical literary theory to look for moments where characters override biological or social programming, echoing Marcuse’s Great Refusal.

🔍 Conclusion: Literary Theory’s Expanded Terrain

Meyer-Emerick’s article pushes literary theory toward a cross-disciplinary expansion—inviting scholars to engage evolution, biology, psychology, and public administration theory in their analyses of power, ideology, and subjectivity. Her work provides a new biopolitical foundation to long-standing literary debates on freedom, conformity, and resistance.

Examples of Critiques Through “Biopolitics, Dominance, and Critical Theory” by Nancy Meyer-Emerick
📚 Literary Work (Year)🧠 Critique Through Meyer-Emerick’s Framework📖 Relevant Theoretical Lens📌 Article-Based Reference
📘 The Testaments by Margaret Atwood (2019)The novel exposes indoctrinability and false consciousness within Gilead, where women internalize oppression. Aunt Lydia’s role reflects both biopolitical governance and self-disciplining power structures.– False Consciousness– Governmentality– Docility“People are dominated by a false consciousness… perpetuated by capitalism… via administration.” (Meyer-Emerick, p. 3)
📗 Klara and the Sun by Kazuo Ishiguro (2021)The novel explores docility and the idea of the “obedient body” through the AI Klara, echoing human submission to dominant orders. It reflects Foucault’s anatomo-politics and the looping effects of bureaucracy.– Obedience– Biopower– Bureaucratic Control“Power is situated… at the level of life, the species, the race.” (Foucault, as cited in Meyer-Emerick, p. 4)
📕 Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin (2022)The characters’ conformity to capitalist creativity norms reveals the tension between individual identity and market-driven false consciousness, shaped by media success and isolation fears—paralleling the spiral of silence.– Spiral of Silence– One-Dimensionality– Media and Opinion Control“They conform rather than challenge the prevailing order and risk isolation.” (Meyer-Emerick, p. 2)
📙 Yellowface by R.F. Kuang (2023)The protagonist’s desperate assimilation and manipulation of public opinion reflects fear of exclusion, echoing Noelle-Neumann’s spiral of silence and Meyer-Emerick’s argument that public identity is mediated by social and media dynamics.– Spiral of Silence– Media Hegemony– Fear of Isolation“The existing order is preserved… by the public’s demand…that we conform to established opinions.” (Meyer-Emerick, p. 7)
Criticism Against “Biopolitics, Dominance, and Critical Theory” by Nancy Meyer-Emerick

⚠️ 1. Biological Determinism and Reductionism

  • ⛔ Critics argue the paper leans toward biological essentialism, suggesting human behaviors like obedience or hierarchy are genetically hardwired.
  • 🧬 This may risk reducing complex political, cultural, and literary phenomena to biological instincts.
  • 📌 “Humans have an ‘innate inclination to obey.’” (Eibl-Eibesfeldt, as cited, p. 6) – such claims risk ignoring social variability and context.

📉 2. Undermines Agency and Emancipation

  • ⚠️ By attributing false consciousness and social conformity to evolutionary history, the paper could weaken the critical theory tradition’s belief in human agency.
  • 🙅‍♂️ This challenges the Frankfurt School’s goal of emancipation through awareness, implying that resistance may be unnatural or rare.
  • 📌 “Disobedience is a rarely encountered political phenomenon.” (Somit & Peterson, 1997, as cited, p. 6)

💬 3. Limited Engagement with Literary or Cultural Theory

  • ❓ The paper’s theoretical framework is not explicitly applied to literary or cultural texts, limiting its direct contribution to literary theory.
  • 📚 Although it references critical theory and Foucault, it misses an opportunity to connect with literary discourse such as narrative theory, genre, or representation.

🧪 4. Scientific Controversies in Biopolitics

  • ❗ The reliability of biopolitical claims about human nature is contested in evolutionary science and social science alike.
  • 🧠 Scholars like Corning (2000) and Wilson (1998) warn that behavioral genetics is still in its infancy and not ready to support strong social claims.
  • 📌 “Our behaviors are greatly affected by social pressures… not solely biology.” (Corning, 2000, p. 104)

🧨 5. Historical Baggage of Social Darwinism

  • ⚠️ Any linkage between evolutionary biology and human social behavior risks echoing Social Darwinism, a historically discredited ideology.
  • 🧑‍🔬 Despite her disclaimers, Meyer-Emerick’s paper revives dangerous framings of hierarchy as ‘natural’, even if unintentionally.
  • 📌 “This gross misappropriation eventually, and fortunately, discredited Social Darwinism.” (p. 10)

🧩 6. Conceptual Incoherence Between Theories

  • 🔀 Merging Foucault’s historical, post-structuralist analysis with biopolitical evolutionary science creates tensions, as these frameworks are epistemologically distinct.
  • 🌀 Foucault analyzes power as relational and discursive, not innate or biologically determined.
  • 📌 “Foucault’s theory is different in that he restricts his analysis…to historical analysis versus specific behavioral examination.” (p. 4)
Representative Quotations from “Biopolitics, Dominance, and Critical Theory” by Nancy Meyer-Emerick with Explanation
🔖 Quotation💡 Explanation / Theoretical Insight
“Critical theorists were accurate in their analysis of the domination and control that fosters false consciousness and one-dimensional life.” (p. 1)Affirms that Frankfurt School critiques of capitalism align with biological insights into human obedience and conformity.
“We may have ‘a genetic bias towards hierarchy, dominance, and submission.’” (Somit & Peterson, 1997, as cited on p. 1)Introduces biopolitical theory suggesting dominance structures may be hardwired through evolution, not just socially constructed.
“People suffer so much when they sense others avoiding them that they can be ‘manipulated as easily by their own sensitivity as by a bridle.’” (p. 2)From Noelle-Neumann’s spiral of silence theory—fear of social isolation compels individuals to self-censor and conform.
“Administration… reflects some form of domination.” (p. 3)Highlights critical theory’s view of bureaucracy as a mechanism that perpetuates inequality and false consciousness.
“Power is situated and exercised at the level of life, the species, the race.” (Foucault, 1978, as cited on p. 4)Captures Foucault’s concept of biopolitics—how modern power disciplines populations through biology and life itself.
“Hierarchy is the most pervasive; for almost all of us, the major and minor events of our existence occur within, and we are shaped by, one hierarchy or another.” (p. 6)Emphasizes the argument that hierarchy is not just a social system, but a deep-seated pattern of behavior across human experience.
“Disobedience is a rarely encountered political phenomenon.” (p. 6)Indicates evolutionary explanations for political passivity and widespread compliance with authority.
“The existing order is preserved… by the public’s demand… that we conform to established opinions and behaviors.” (p. 7)Reinforces how public opinion and mass culture enforce conformity and discourage resistance—core to both critical and biopolitical theory.
“To draw premature closure to biopolitics… would represent an abandonment of a scholar’s time honoured defence of freedom of inquiry.” (p. 11)Defends the integration of biology into political theory and warns against rejecting it due to past ideological misuses (e.g., Social Darwinism).
“It is the idiosyncrasies of individuals within the species population where the greatest potential for ‘immanent critique’ and emancipation may persist.” (p. 11)Suggests hope for resistance and transformation lies not in mass systems, but in unique human variance and cultural transcendence of biological instincts.
Suggested Readings: “Biopolitics, Dominance, and Critical Theory” by Nancy Meyer-Emerick
  1. Meyer-Emerick, Nancy. “Biopolitics, dominance, and critical theory.” Administrative Theory & Praxis 26.1 (2004): 1-15.
  2. Meyer-Emerick, Nancy. “Biopolitics, Dominance, and Critical Theory.” Administrative Theory & Praxis, vol. 26, no. 1, 2004, pp. 1–15. JSTOR, http://www.jstor.org/stable/25610645. Accessed 26 July 2025.
  3. McMahon, John. “The ‘Enigma of Biopolitics’: Antiblackness, Modernity, and Roberto Esposito’s Biopolitics.” Political Theory, vol. 46, no. 5, 2018, pp. 749–71. JSTOR, https://www.jstor.org/stable/26509631. Accessed 26 July 2025.
  4. Kelly, M. G. E. “International Biopolitics: Foucault, Globalisation and Imperialism.” Theoria: A Journal of Social and Political Theory, vol. 57, no. 123, 2010, pp. 1–26. JSTOR, http://www.jstor.org/stable/41802469. Accessed 26 July 2025.

“The Shooting of Dan McGrew” by Robert W. Service: A Critical Analysis

“The Shooting of Dan McGrew” by Robert W. Service first appeared in 1907 as part of his poetry collection Songs of a Sourdough (published in the U.S. as The Spell of the Yukon and Other Verses).

"The Shooting of Dan McGrew" by Robert W. Service: A Critical Analysis
Introduction: “The Shooting of Dan McGrew” by Robert W. Service

“The Shooting of Dan McGrew” by Robert W. Service first appeared in 1907 as part of his poetry collection Songs of a Sourdough (published in the U.S. as The Spell of the Yukon and Other Verses). The poem captures the rugged spirit of the Yukon Gold Rush, blending adventure, mystery, and frontier justice. Its popularity stems from its vivid storytelling, rhythmic cadence, and dramatic tension, all of which evoke the lawlessness and emotional extremes of the northern wilderness. Central to the poem are themes of betrayal, revenge, and the destructive allure of gold. With lines like “The thought came back of an ancient wrong, and it stung like a frozen lash,” Service taps into primal emotions—grief, rage, and longing. The enigmatic characters—Dan McGrew, the grim stranger, and the duplicitous Lou—create a fatal triangle that ends in violence, yet leaves room for moral ambiguity. The poem’s raw energy, musical rhythm, and cinematic imagery ensured its enduring appeal among readers seeking both grit and drama in verse.

Text: “The Shooting of Dan McGrew” by Robert W. Service

A bunch of the boys were whooping it up in the Malamute saloon;

The kid that handles the music-box was hitting a jag-time tune;

Back of the bar, in a solo game, sat Dangerous Dan McGrew,

And watching his luck was his light-o’-love, the lady that’s known as Lou.

When out of the night, which was fifty below, and into the din and the glare,

There stumbled a miner fresh from the creeks, dog-dirty, and loaded for bear.

He looked like a man with a foot in the grave and scarcely the strength of a louse,

Yet he tilted a poke of dust on the bar, and he called for drinks for the house.

There was none could place the stranger’s face, though we searched ourselves for a clue;

But we drank his health, and the last to drink was Dangerous Dan McGrew.

There’s men that somehow just grip your eyes, and hold them hard like a spell;

And such was he, and he looked to me like a man who had lived in hell;

With a face most hair, and the dreary stare of a dog whose day is done,

As he watered the green stuff in his glass, and the drops fell one by one.

Then I got to figgering who he was, and wondering what he’d do,

And I turned my head — and there watching him was the lady that’s known as Lou.

His eyes went rubbering round the room, and he seemed in a kind of daze,

Till at last that old piano fell in the way of his wandering gaze.

The rag-time kid was having a drink; there was no one else on the stool,

So the stranger stumbles across the room, and flops down there like a fool.

In a buckskin shirt that was glazed with dirt he sat, and I saw him sway;

Then he clutched the keys with his talon hands — my God! but that man could play.

Were you ever out in the Great Alone, when the moon was awful clear,

And the icy mountains hemmed you in with a silence you most could hear;

With only the howl of a timber wolf, and you camped there in the cold,

A half-dead thing in a stark, dead world, clean mad for the muck called gold;

While high overhead, green, yellow and red, the North Lights swept in bars? —

Then you’ve a hunch what the music meant. . . hunger and night and the stars.

And hunger not of the belly kind, that’s banished with bacon and beans,

But the gnawing hunger of lonely men for a home and all that it means;

For a fireside far from the cares that are, four walls and a roof above;

But oh! so cramful of cosy joy, and crowned with a woman’s love —

A woman dearer than all the world, and true as Heaven is true —

(God! how ghastly she looks through her rouge, — the lady that’s known as Lou.)

Then on a sudden the music changed, so soft that you scarce could hear;

But you felt that your life had been looted clean of all that it once held dear;

That someone had stolen the woman you loved; that her love was a devil’s lie;

That your guts were gone, and the best for you was to crawl away and die.

‘Twas the crowning cry of a heart’s despair, and it thrilled you through and through —

“I guess I’ll make it a spread misere”, said Dangerous Dan McGrew.

The music almost died away … then it burst like a pent-up flood;

And it seemed to say, “Repay, repay,” and my eyes were blind with blood.

The thought came back of an ancient wrong, and it stung like a frozen lash,

And the lust awoke to kill, to kill … then the music stopped with a crash,

And the stranger turned, and his eyes they burned in a most peculiar way;

In a buckskin shirt that was glazed with dirt he sat, and I saw him sway;

Then his lips went in in a kind of grin, and he spoke, and his voice was calm,

And “Boys,” says he, “you don’t know me, and none of you care a damn;

But I want to state, and my words are straight, and I’ll bet my poke they’re true,

That one of you is a hound of hell. . .and that one is Dan McGrew.”

Then I ducked my head, and the lights went out, and two guns blazed in the dark,

And a woman screamed, and the lights went up, and two men lay stiff and stark.

Pitched on his head, and pumped full of lead, was Dangerous Dan McGrew,

While the man from the creeks lay clutched to the breast of the lady that’s known as Lou.

These are the simple facts of the case, and I guess I ought to know.

They say that the stranger was crazed with “hooch,” and I’m not denying it’s so.

I’m not so wise as the lawyer guys, but strictly between us two —

The woman that kissed him and — pinched his poke — was the lady that’s known as Lou.

Annotations: “The Shooting of Dan McGrew” by Robert W. Service
Stanza (First Line)Annotation Literary Devices 🎨
A bunch of the boys were whooping it up in the Malamute saloon…A group of men were drinking and having fun in a Yukon bar. Dan McGrew played cards while a woman, Lou, watched him.🎵 Alliteration (whooping it up), 🎭 Characterization (Dan McGrew), 🖼️ Imagery (saloon atmosphere)
When out of the night, which was fifty below…A filthy, nearly-dead miner walks in from the freezing cold and buys everyone drinks. Nobody knows who he is.❄️ Imagery (fifty below), ❓ Mystery (unknown identity), 🌟 Hyperbole (loaded for bear)
There’s men that somehow just grip your eyes…The stranger has a haunting, unforgettable look. Lou seems to recognize him.👁️ Visual Imagery, 🧲 Metaphor (grip your eyes like a spell), ❤️ Foreshadowing (Lou’s interest)
His eyes went rubbering round the room…The dazed stranger finds the piano and starts playing it beautifully, despite his ragged appearance.🎶 Juxtaposition (grimy man with musical talent), 🧟 Visual Contrast, 🧤 Symbolism (talon hands)
Were you ever out in the Great Alone…Describes the harsh, lonely wilderness of the Yukon and the madness it brings in the search for gold.🌌 Nature Imagery, 💰 Symbolism (muck called gold), 🧊 Personification (silence you could hear)
And hunger not of the belly kind…The music expresses emotional pain—loneliness and longing for love and home. Lou’s appearance clashes with that ideal.💔 Metaphor (emotional hunger), 🕯️ Symbolism (home, love), 👹 Irony (ghastly she looks through her rouge)
Then on a sudden the music changed…The music grows darker, filled with betrayal and loss. Dan McGrew seems to provoke this reaction.🎭 Mood Shift, 🎶 Auditory Imagery, 💢 Emotional Climax
The music almost died away…The music erupts violently, triggering memories and the desire for revenge. The stranger accuses Dan McGrew.🔥 Symbolism (music as revenge), 🗣️ Dramatic Monologue, 🕵️ Suspense
Then I ducked my head, and the lights went out…A shootout occurs in the dark. When lights return, Dan McGrew and the stranger are both dead. Lou is holding the stranger.💥 Action Imagery, 😱 Dramatic Irony, 🧩 Ambiguity (who shot first?)
These are the simple facts of the case…The narrator suggests Lou is manipulative—she kissed the stranger, then stole his gold.🎭 Irony, 🕵️ Twist Ending, 💄 Symbolism (Lou’s false beauty)
Literary And Poetic Devices: “The Shooting of Dan McGrew” by Robert W. Service
Device 🎨Example & Explanation
1. Alliteration 🔁“grim and gritty,” “solo game,” “light-o’-love” — Repetition of initial consonant sounds in closely placed words (e.g., “g” in “grim and gritty”) enhances the musical rhythm and draws attention to key ideas. It’s used sparingly but effectively in the poem to maintain the ballad feel.
2. Imagery 🖼️“fifty below,” “dog-dirty,” “pumped full of lead” — Uses vivid language to engage sight, touch, and sound. The descriptions immerse the reader in the Yukon wilderness and the deadly saloon showdown.
3. Characterization 🎭“Dangerous Dan McGrew,” “the lady that’s known as Lou” — Names and nicknames hint at roles and reputations: McGrew is menacing, Lou is ambiguous and possibly unfaithful. Characters are developed through title, actions, and interactions.
4. Foreshadowing 🔮“there watching him was the lady that’s known as Lou” — Lou’s subtle interest in the stranger hints at a past connection and a coming betrayal. This builds suspense and emotional stakes.
5. Irony 🎭“true as Heaven is true” — Verbal irony contrasts Lou’s described faithfulness with her actual betrayal and theft. It reflects the theme of deception in love and loyalty.
6. Hyperbole 🌟“loaded for bear” — An exaggerated phrase suggesting the miner was armed and ready for deadly business. Highlights the drama and tension before the climax.
7. Simile 🔗“like a man who had lived in hell” — Direct comparison that intensifies the reader’s sense of the stranger’s suffering and haunted past.
8. Symbolism 🧤“poke of dust” = gold, “green stuff” = liquor, music = emotional memory — Symbols enrich the narrative by connecting physical objects to deeper themes like greed, grief, and revenge.
9. Metaphor 🔥“the gnawing hunger of lonely men” — Emotional longing is likened to physical hunger, emphasizing the psychological toll of frontier isolation.
10. Personification 🧊“a silence you most could hear” — Gives the non-human concept of silence human sensory traits, intensifying the bleakness of the Yukon.
11. Onomatopoeia 🔊“whooping,” “blazed,” “crash” — Words that mimic sound to heighten action and atmosphere. They bring urgency to scenes like the saloon riot or gunfight.
12. Mood Shift 🎭Shifts from rowdyreflectiveviolent — The evolving mood mirrors character emotion and story development. It creates a narrative arc from chaos to tragedy.
13. Juxtaposition ⚖️The filthy stranger vs. his elegant piano playing — Sharp contrast suggests depth beneath roughness and preps for his reveal and revenge.
14. Dialogue 🗣️“Boys,” says he… — Spoken lines enhance realism and give voice to key characters. The stranger’s speech is a turning point that builds tension before the shootout.
15. Setting as Character 🌌The Yukon is described in terms that give it agency: “Great Alone,” “moon was awful clear,” “North Lights swept in bars.” Nature shapes the fates and moods of characters.
16. Dramatic Irony 😱The narrator remains unaware of Lou’s betrayal until the end, though the audience picks up clues earlier — creating suspense and emotional engagement.
17. Enjambment 🔄“And hunger not of the belly kind, / that’s banished with bacon and beans” — Sentences spill over line breaks, mimicking natural thought flow and sustaining rhythm.
18. Repetition ♻️“the lady that’s known as Lou” appears throughout — Repeating this phrase builds a refrain-like pattern that adds mystery and a haunting lyrical effect.
19. Tone 🎼Shifts from boisterous to haunted to tragic — These tonal changes keep readers emotionally engaged and reflect psychological shifts in the narrative.
20. Narrative Voice 🧓Told by an unnamed bar patron: “I guess I ought to know.” His casual, biased storytelling makes him an unreliable narrator, adding mystery and interpretation room.
Themes: “The Shooting of Dan McGrew” by Robert W. Service

💀 Violence and Frontier Justice: In “The Shooting of Dan McGrew” by Robert W. Service, the theme of violence and frontier justice pervades the poem, portraying the Yukon not just as a geographical frontier but a moral one where retribution replaces law. Justice is not administered by courts or code, but by personal vendetta and raw firepower. The saloon becomes an arena where simmering tensions erupt into gunfire, as seen in the line, “two guns blazed in the dark, / And a woman screamed, and the lights went up, / and two men lay stiff and stark.” This explosive climax reflects how, in this untamed world, personal grievances are resolved in a moment of deadly spectacle. The stranger’s assertion—“That one of you is a hound of hell… and that one is Dan McGrew”—functions as both accusation and sentencing. With no appeal or dialogue beyond the draw of a gun, the poem reinforces how in the frontier, violence serves not only as revenge but as the only enforceable justice.


🏔️ Isolation and Emotional Hunger: In “The Shooting of Dan McGrew” by Robert W. Service, the Yukon is not only a physical wilderness but a landscape of profound isolation and emotional hunger, where survival strips away human connection. While the setting is outwardly harsh—“Were you ever out in the Great Alone…with a silence you most could hear?”—it is the inner desolation of the men that gives the poem its aching emotional weight. The stranger’s piano playing becomes a vessel for expressing the “gnawing hunger of lonely men for a home and all that it means,” revealing that the most devastating kind of starvation in the North is not physical but emotional. The poem contrasts the imagined warmth of a fireside and a loving woman with the stark reality of Lou, whose made-up face—“how ghastly she looks through her rouge”—betrays her as a hollow substitute for real affection. Service suggests that in the gold rush era, men are consumed not only by greed but by a longing for intimacy they can no longer trust or attain.


💰 Greed and the Corrupting Power of Gold: In “The Shooting of Dan McGrew” by Robert W. Service, the theme of greed and its corrupting influence threads subtly through the poem, shaping its setting, motivations, and moral unraveling. Set during the Yukon Gold Rush, the saloon is a place where gold changes hands as easily as affections. The stranger, described as “clean mad for the muck called gold,” embodies the cost of this obsession—physically degraded, emotionally destroyed, and morally inflamed. Yet greed does not only claim men; it distorts love as well. Lou, described in alluring terms early on, is ultimately reduced to betrayal in the final twist: “The woman that kissed him and — pinched his poke.” That single act of theft, performed on the body of a man she once loved or once betrayed, illustrates how wealth supplants human loyalty. Service portrays gold not as a reward but a corrosive force that eats away at character, rendering even relationships transactional and hearts expendable.


🎭 Deception and Identity: In “The Shooting of Dan McGrew” by Robert W. Service, deception and identity form a thematic core, as the poem unfolds in a world where no one is quite what they appear to be. The stranger enters unrecognized, “dog-dirty,” but with a magnetic presence—“he looked to me like a man who had lived in hell.” His anonymity conceals a dangerous truth, only revealed as his music and voice expose a buried history with Dan McGrew. Lou, too, is defined by ambiguity, repeatedly referred to as “the lady that’s known as Lou,” a phrase that implies infamy, mystery, and possible duplicity. Her appearance is theatrical, not genuine—“God! how ghastly she looks through her rouge”—which transforms her into a symbol of emotional falsehood. Through these layered identities and concealed motives, the poem presents a world where the surface deceives, and truth—when it emerges—is tangled with betrayal, vengeance, and tragedy.

Literary Theories and “The Shooting of Dan McGrew” by Robert W. Service
Literary Theory 🎨Application & ExplanationTextual References 📖
🧔 Historical/Biographical CriticismThis approach examines the influence of Service’s own life and the Yukon Gold Rush (1896–1899), during which he lived in Canada and worked in the North. The poem reflects frontier lawlessness and moral codes shaped by isolation and economic desperation.“Were you ever out in the Great Alone… clean mad for the muck called gold” – shows historical context of gold fever and emotional toll of frontier life.
⚔️ Marxist CriticismThis lens focuses on class struggle, power dynamics, and the role of economic systems. Here, gold (capital) is the driving force behind the characters’ motives and betrayals, reflecting how capitalism dehumanizes.“The woman that kissed him and — pinched his poke” – Lou’s loyalty shifts based on material gain; gold becomes the source of conflict and moral decay.
💋 Feminist CriticismA feminist lens questions how women are portrayed. Lou is unnamed beyond her alias, reduced to “the lady that’s known as Lou,” and is ultimately framed as a manipulator or object of possession. The poem reflects patriarchal views that associate women with temptation, betrayal, and danger.“God! how ghastly she looks through her rouge” – focuses on appearance and deception; “light-o’-love” implies she is of questionable virtue.
🌀 Psychoanalytic CriticismThis lens explores subconscious motives, repression, and emotional trauma. The stranger’s past is never explicitly told, but his music and vengeance suggest deep psychological scars. The Yukon becomes a metaphor for his internal desolation.“The thought came back of an ancient wrong… and the lust awoke to kill” – suggests suppressed trauma manifesting in violent catharsis through revenge.
Critical Questions about “The Shooting of Dan McGrew” by Robert W. Service

How does “The Shooting of Dan McGrew” by Robert W. Service reflect the moral ambiguity of frontier justice?

In “The Shooting of Dan McGrew” by Robert W. Service, the depiction of frontier justice is not framed in terms of clear moral right or wrong but instead is steeped in ambiguity and unresolved tension. The stranger’s violent retribution against Dan McGrew unfolds without legal justification, introduced only through his cryptic claim: “That one of you is a hound of hell… and that one is Dan McGrew.” This ambiguous accusation implies a personal grievance, but the poem never confirms what McGrew did to deserve his fate. The poem concludes with a violent climax—“two men lay stiff and stark”—but offers no closure, reinforcing a code of justice based more on personal vendetta than societal rules. The speaker’s detached tone, especially in the closing lines—“These are the simple facts of the case, and I guess I ought to know”—suggests that even eyewitnesses in the frontier world accept moral gray areas. Service thus illustrates how in the rugged Yukon, justice is shaped not by law but by circumstance, violence, and emotional impulse.


🧊 What role does isolation play in shaping the characters’ emotional lives in “The Shooting of Dan McGrew” by Robert W. Service?

“The Shooting of Dan McGrew” by Robert W. Service presents the Yukon as a vast, isolating landscape that deeply influences the emotional and psychological state of its inhabitants, particularly the stranger. While the saloon setting appears lively, the poem’s deeper emotional current flows through solitude and longing. The stranger’s music becomes a conduit for expressing the desolation bred by life in “the Great Alone,” where “the icy mountains hemmed you in with a silence you most could hear.” His performance conjures images of “the gnawing hunger of lonely men for a home and all that it means,” suggesting that the absence of warmth, domesticity, and love weighs more heavily than physical hardship. Even Lou, who might offer emotional connection, is portrayed as artificial and distant, her “ghastly” appearance symbolic of failed intimacy. The poem suggests that in such an environment, emotional hunger festers, ultimately contributing to rage, regret, and the kind of violent outburst that ends the narrative.


💔 In what ways does “The Shooting of Dan McGrew” by Robert W. Service portray women through a lens of distrust and danger?

In “The Shooting of Dan McGrew” by Robert W. Service, the sole female character—Lou—is depicted through a lens of ambiguity, seduction, and betrayal, which reflects a broader literary tradition of viewing women as both alluring and treacherous. Throughout the poem, Lou is referred to as “the lady that’s known as Lou,” a phrase that distances her from personal identity and instead labels her as an object of gossip, suspicion, and desire. Her final act—“The woman that kissed him and — pinched his poke”—solidifies her as both emotionally and materially deceptive. Even her appearance is tainted with falsity: “God! how ghastly she looks through her rouge,” implying that beauty itself is performative and hollow. Rather than offering comfort or redemption, Lou becomes a catalyst for conflict, caught between two men whose lives end violently. Service’s portrayal reflects a patriarchal worldview where women, particularly in frontier settings, are framed not as full individuals but as dangerous distractions or temptresses.


🎭 How does performance—both literal and emotional—function in “The Shooting of Dan McGrew” by Robert W. Service?

“The Shooting of Dan McGrew” by Robert W. Service uses both literal performance (music) and emotional performance (identity and deception) to explore how individuals present themselves in a world of hidden motives and masked pasts. The most striking instance is the stranger’s piano playing, which becomes a dramatic release of memory and rage: “The music almost died away … then it burst like a pent-up flood.” This performance is more than mere entertainment—it is a deeply personal, expressive act that channels the stranger’s despair and drives the narrative toward its deadly conclusion. Likewise, Lou’s presence in the saloon is a kind of social performance. Her makeup, her name, and her role as “light-o’-love” present her as an object of allure, yet ultimately reveal betrayal. Even the narrator is performing, presenting his version of events as “the simple facts of the case” while subtly suggesting uncertainty and bias. Service thus constructs a world where performance replaces authenticity, and the most genuine emotions are revealed not through speech, but through music, silence, and gunfire.

Literary Works Similar to “The Shooting of Dan McGrew” by Robert W. Service
  • “The Cremation of Sam McGee” by Robert W. Service
    ➤ Also set in the Yukon, this poem blends dark humor, frontier survival, and vivid imagery, much like Dan McGrew, with themes of death and the brutal northern landscape.
  • “The Ballad of Reading Gaol” by Oscar Wilde
    ➤ Like Service’s poem, Wilde’s ballad explores crime, justice, and human suffering through a dramatic narrative voice and emotional verse structure.
  • “Casey at the Bat” by Ernest Lawrence Thayer
    ➤ Though lighter in tone, this poem shares a narrative ballad form and features a central male figure whose fate turns suddenly and tragically in front of a crowd.
  • “Outlaw Pete” by Bruce Springsteen (Poetic ballad version)
    ➤ Written in ballad style, it tells the story of a criminal’s violent life and moral ambiguity, echoing the themes of justice, identity, and fatalism in Dan McGrew.
  • “Barbara Allen” (Traditional English Ballad)
    ➤ Like Dan McGrew, this poem centers on love, betrayal, and death, using repetition and musical phrasing to emphasize emotional resonance and tragic consequences.
Representative Quotations of “The Shooting of Dan McGrew” by Robert W. Service
📖 Quotation🔍 Context🧠 Explanation🧪 Theoretical Perspective
“Pitched on his head, and pumped full of lead, was Dangerous Dan McGrew”Aftermath of the gunfight.Shows the brutal end of frontier justice—quick, final, and without moral certainty.🩸 Naturalist Realism – Suggests fate is shaped by instinct and environment.
“When out of the night, which was fifty below, and into the din and the glare”Stranger enters from the frozen Yukon.Contrast between wilderness and the man-made chaos of the saloon sets dramatic tension.🌌 Ecocriticism – Nature shapes human behavior and isolation.
“Then he clutched the keys with his talon hands — my God! but that man could play.”The stranger begins playing piano.His skill contrasts his rough appearance, revealing hidden emotional depth.🧠 Psychoanalytic Criticism – Art as a release of inner trauma.
“The hunger not of the belly kind… but the gnawing hunger of lonely men”Description of the music’s emotional meaning.Expresses emotional starvation—loss, love, and longing—beyond physical needs.📖 Existentialism – Examines alienation and meaninglessness.
“The lady that’s known as Lou”Refrain describing the female figure.Repetition objectifies Lou, making her more symbol than person.💋 Feminist Criticism – Analyzes gendered roles and objectification.
“That one of you is a hound of hell… and that one is Dan McGrew”Stranger accuses Dan just before the shootout.Unclear grievance builds mystery; implies moral judgment without evidence.⚖️ Moral/Philosophical Criticism – Focuses on guilt and revenge.
“God! how ghastly she looks through her rouge”The stranger reacts to Lou during his piano performance.Her painted beauty is shown as false; a symbol of emotional deception.🎭 Symbolism & Feminist Criticism – Surface vs. inner truth.
“The woman that kissed him and — pinched his poke”Lou’s final act revealed after the stranger dies.Merges romance and theft; love is undermined by greed.💰 Marxist Criticism – Love commodified by gold.
“You don’t know me, and none of you care a damn”The stranger addresses the crowd.Emphasizes his anonymity and emotional alienation in society.📚 Sociological Criticism – Critiques lack of empathy and communal failure.
“The icy mountains hemmed you in with a silence you most could hear”Describing Yukon wilderness.Personifies the cold as oppressive and mentally overwhelming.🌨️ Ecocriticism & Psychological Realism – Nature as psychological pressure.
Suggested Readings: “The Shooting of Dan McGrew” by Robert W. Service
  1. Burke, Louis. “The Cremation of Sam McGee and The Shooting of Dan McGrew by Robert Service.” The English Journal, vol. 66, no. 3, 1977, pp. 69–70. JSTOR, https://doi.org/10.2307/815822. Accessed 26 July 2025.
  2. “ROBERT W. SERVICE.” The Public Health Journal, vol. 6, no. 9, 1915, pp. 455–60. JSTOR, http://www.jstor.org/stable/41997763. Accessed 26 July 2025.
  3. Whatley, W. A. “KIPLING INFLUENCE IN THE VERSE OF ROBERT W. SERVICE.” Texas Review, vol. 6, no. 4, 1921, pp. 299–308. JSTOR, http://www.jstor.org/stable/43466074. Accessed 26 July 2025.
  4. Dondertman, Anne. The Papers of the Bibliographical Society of America, vol. 95, no. 3, 2001, pp. 374–77. JSTOR, http://www.jstor.org/stable/24304497. Accessed 26 July 2025.

“Biopolitics, Biopower, And The Return Of Sovereignty” by Mathew Coleman And Kevin Grove: Summary and Critique

“Biopolitics, Biopower, and the Return of Sovereignty” by Mathew Coleman and Kevin Grove first appeared in 2009 in the journal Environment and Planning D: Society and Space (vol. 27, pp. 489–507).

"Biopolitics, Biopower, And The Return Of Sovereignty" by Mathew Coleman And Kevin Grove: Summary and Critique
Introduction: “Biopolitics, Biopower, And The Return Of Sovereignty” by Mathew Coleman And Kevin Grove

“Biopolitics, Biopower, and the Return of Sovereignty” by Mathew Coleman and Kevin Grove first appeared in 2009 in the journal Environment and Planning D: Society and Space (vol. 27, pp. 489–507). This article critically interrogates the contemporary usage and conceptualization of “biopolitics,” a term rooted in Michel Foucault’s work but now widely deployed in political and literary theory. The authors caution against the unreflective and generalized application of biopolitics, echoing Virno’s warning about its fashionable overuse and urging careful analysis of “how and why life breaks through the center of the public scene, how and why the State regulates and governs it” (Virno, 2004, p. 81). Coleman and Grove argue that biopolitics, far from being a settled or uniform concept, is the subject of vibrant definitional struggle, particularly in the work of Foucault, Agamben, and Hardt & Negri. The article contrasts Foucault’s genealogical and context-sensitive approach—where government and biopower are analyzed as historically specific and spatially varied—with Agamben’s notion of thanatopolitics (the power over death and “bare life”) and Hardt & Negri’s theory of biopotenza (the productive, constitutive power of the multitude). The authors critique both Agamben and Hardt & Negri for reintroducing metaphysical and universalist definitions of biopolitics, often losing sight of Foucault’s insistence on the contingency and embeddedness of power. In the field of literary theory, this paper is significant for highlighting how debates over biopolitics reflect broader contests over sovereignty, subjectivity, and spatiality, and for warning against the reduction of complex theoretical traditions to catch-all terms. It thus occupies an important place in literature and critical theory by insisting on the plurality, contestation, and situatedness of “biopolitics”—challenging any move to treat it as a stable or transhistorical category.

Summary of “Biopolitics, Biopower, And The Return Of Sovereignty” by Mathew Coleman And Kevin Grove

📝 Introduction: Context and Problematic

  • Biopolitics as a Contested Concept:
    • The term “biopolitics” has become widely and sometimes uncritically invoked in diverse contexts.
    • Authors warn against its automatic use, asking “how and why life breaks through the center of the public scene, how and why the State regulates and governs it” (Virno, 2004, p. 81).
  • Sovereignty in Political Theory:
    • Sovereignty, though often treated as settled, contains underlying diversity and contestation (Walker, 1993, p. 165).
    • Biopolitics emerges in literature as a supposed “nonsovereign” or “postsovereign” form of power but this is questioned.

Key Debates: Biopolitics and Its Differing Definitions

  • Multiplicity of Definitions:
    • “Our goal… is to draw attention to multiple competing definitions of biopolitics, and in so doing problematize the term as a catchall category to describe either the ‘nonsovereign’ or the ‘postsovereign’ operation of power.” (p. 490)
  • Competing Theoretical Accounts:
    • Contrasts Foucault’s historical and geographical specificity with Agamben’s metaphysical thanatopolitics and Hardt & Negri’s universalist biopotenza.

🧬 Foucault: Genealogy, Governmentality, and Biopolitics

  • Inductive and Contextual Approach:
    • Foucault’s “inductive, genealogical, and time-specific and place-specific use of the concept” (p. 490).
    • “The state is neither a ‘cold monster’ nor a ‘puppet show policeman’, but a time-specific and place-specific way of governing” (Foucault, 2008, p. 4, 6).
  • Power/Knowledge Assemblages:
    • “Government is… about the relative durability of regimes of truth in relation to institutionalized practices—systems of power/knowledge” (p. 491).
  • Biopolitics as a Modern Technology of Power:
    • Not a dissolution of the state, but a “reconfiguration of ‘state’ power” as an assemblage of diverse practices (p. 491).
    • “Biopolitics itself warrants explanation—a modern technology of government whose contingency on earlier experiments in political and economic governance is the problem to be examined” (p. 501).

☠️ Agamben: Thanatopolitics and Sovereign Ban

  • Critique of Foucault:
    • Argues Foucault neglects death and periodizes power too rigidly (Agamben, 2002).
    • For Agamben, “sovereign power is the ability to hold life hostage within what he calls a ‘sovereign ban’” (p. 496).
  • Bare Life and Homo Sacer:
    • “Homo sacer is a life doubly excluded—such that it can be killed without the charge of murder, and yet not sacrificed” (p. 496).
    • Death camps illustrate “the limit form of a racist biopolitical technology” (p. 496).
  • Totalizing Vision:
    • Agamben’s threshold “renders all places subject to the biopolitics of the sovereign ban, without differentiation” (p. 497).

💥 Hardt & Negri: Biopotenza and the Multitude

  • Critique of Foucault:
    • Argue Foucault “fetishizes power as a faceless function, and… ignores ‘the ontological substance of cultural and social production’” (Hardt & Negri, 2000, p. 28).
  • Biopotenza (Constituent Power):
    • “Biopotenza, ‘the potentiality of constituent power’, as ‘the bios that creates power’” (Casarino & Negri, 2004, p. 167).
    • “The multitude is at its core deterritorializing… a force that undercuts and dissolves any sort of spatiality predicated on boundaries or on territorialized accounts of identity and its differences” (p. 500).
  • Universalizing Critique:
    • Hardt & Negri’s biopolitics is “a bold explanation of the social world—it is, categorically, what animates all social life, everywhere” (p. 501).

🌍 Spatiality and Metaphysics: Geographies of Biopolitics

  • Metaphysics of Geopresence:
    • Both Agamben and Hardt & Negri “deploy biopolitics in both metaphysical and metageographical ways” (p. 490).
    • Critique: This risks “finalization and totalization… which conceal ‘the complex geographical palimpsest'” (Sparke, 2005, p. xvi).
  • Contrast with Foucault:
    • Foucault “seeks to identify the multifarious logics, strategies, and forces at play that give contextual meat to the bare-bone elements of social life” (p. 501).

🚩 Conclusion: The Return of Sovereignty and Critical Implications

  • No Stable Concept:
    • “Biopolitics should be approached as a site of fervent definitional struggle and disagreement” (p. 505).
  • Two ‘Returns’ of Sovereignty:
    • Agamben: Sovereignty returns as a “black hole”—an all-encompassing, formless power.
    • Hardt & Negri: Sovereignty “cannot be thought outside or beyond life”; power is parasitic on the productive potential of the multitude.
  • Caution for Theory:
    • The concept’s use in literary and cultural theory should “avoid reduction of complex theoretical traditions to catch-all terms.”
    • Authors argue for “the plurality, contestation, and situatedness of ‘biopolitics'” (p. 506).

Key Quotations

  1. “Let us ask ourselves, then, how and why life breaks through the center of the public scene, how and why the State regulates and governs it.” (Virno, 2004, p. 81)
  2. “Biopolitics… is anything but a stable concept and cannot be deployed but in reference to specific thinkers and texts.” (p. 505)
  3. “For Foucault… biopolitics itself warrants explanation—a modern technology of government whose contingency on earlier experiments in political and economic governance is the problem to be examined.” (p. 501)
  4. “The multitude is a force that undercuts and dissolves any sort of spatiality predicated on boundaries or on territorialized accounts of identity and its differences.” (p. 500)
  5. “Agamben’s threshold… renders all places subject to the biopolitics of the sovereign ban, without differentiation.” (p. 497)
Theoretical Terms/Concepts in “Biopolitics, Biopower, And The Return Of Sovereignty” by Mathew Coleman And Kevin Grove
Theoretical Term Explanation, Example, and Reference Sentence
🧬 BiopoliticsExplanation: Governing populations through techniques focused on managing life (health, reproduction, etc.), not just through law or sovereignty.Example: State policies on public health and vaccination campaigns.Reference: “We do so on two fronts. On the one hand, we contrast Foucault on war and the normalizing society, Agamben on thanatopolitics, and Hardt and Negri on biopotenza. Our goal here is to draw attention to multiple competing definitions of biopolitics…” (p. 489)
BiopowerExplanation: Power exercised over life itself—how states and institutions manage, regulate, and discipline bodies and populations.Example: Surveillance, statistical tracking of populations, and welfare policies.Reference: “Foucault’s concept of government points, for us, to the ‘abidingness’ and yet polyvalent and protean character of ensembles of practices and knowledges referred to nominally as the ‘state’.” (p. 491)
👑 SovereigntyExplanation: The ultimate authority or power to decide over life and death, often linked to the state.Example: The power of a government to declare a state of emergency or martial law.Reference: “If it was an essentially uncontested concept (cf Connolly, 1993, pages 9–44), a number of different presuppositions circulated under sovereignty’s sign.” (p. 489)
☠️ ThanatopoliticsExplanation: A form of biopolitics that focuses on the politics of death; the state’s power to decide who may live and who must die (Agamben).Example: The use of the death penalty or genocidal policies.Reference: “Agamben’s first move in this reconfiguration is to suggest that sovereign power is the ability to hold life hostage within what he calls a ‘sovereign ban’.” (p. 496)
🚪 Sovereign Ban/ThresholdExplanation: Agamben’s concept describing how sovereign power functions at the boundary between law and life, inside and outside.Example: Refugee camps or zones of exception where normal laws are suspended.Reference: “The ban is a Möbius-ribbon-type limit between the states of law (nomos) and nature (physis)…” (p. 496)
👤 Bare Life / Homo SacerExplanation: Agamben’s idea for a life stripped of political rights, which can be killed but not sacrificed.Example: Prisoners in concentration camps.Reference: “Homo sacer is a life doubly excluded—such that it can be killed without the charge of murder, and yet not sacrificed.” (p. 496)
💥 Biopotenza (Constituent Power)Explanation: Hardt & Negri’s term for the creative, productive force of the multitude, the power to generate social life itself.Example: Collective creation of new forms of labor or social movements.Reference: “Against this, Negri describes biopotenza, ‘the potentiality of constituent power’, as ‘the bios that creates power’…” (p. 499)
🏛️ GovernmentalityExplanation: Foucault’s concept for the art or technique of governing beyond just the state; includes a range of institutions, practices, and knowledges.Example: The management of populations through schools, hospitals, and prisons.Reference: “Key here are two things. First, government is not fleetingly discursive…but is, instead, about the relative durability of regimes of truth in relation to institutionalized practices…” (p. 491)
🌍 Metaphysics of GeopresenceExplanation: The tendency to make abstract, universal claims about space and power, sometimes erasing real differences in geography.Example: Describing globalization as a smooth, undifferentiated global space.Reference: “We submit that Agamben as well as Hardt and Negri deploy biopolitics in both metaphysical and metageographical ways.” (p. 490)
🔬 Power/KnowledgeExplanation: Foucault’s notion that power is exercised through the production of knowledge and that knowledge helps produce power.Example: Medical discourses that define normal vs. abnormal bodies.Reference: “Power/knowledge refers to ‘how discourses organized and systematized by the task of stating the truth exist in relation to organized and systematized forms of practice’.” (p. 491)
Contribution of “Biopolitics, Biopower, And The Return Of Sovereignty” by Mathew Coleman And Kevin Grove to Literary Theory/Theories

🧬 Biopolitics and Literary Theory: Destabilizing the Concept

  • Challenges the Automatic Use of Biopolitics:
    • The article warns against the “automatic and unreflective use of the term” biopolitics in literary and cultural criticism (p. 489).
    • Quotation: “We should avoid this automatic and unreflective use of the term. Let us ask ourselves, then, how and why life breaks through the center of the public scene, how and why the State regulates and governs it.” (p. 489, quoting Virno)
  • Promotes Contextual, Critical Use:
    • Advocates for careful, context-driven applications in theoretical analysis, not as a catch-all for ‘nonsovereign’ or ‘postsovereign’ power.
    • Quotation: “We think the term is anything but a stable concept and cannot be deployed but in reference to specific thinkers and texts.” (p. 505)

👑 Sovereignty: Reconceptualizing Power in Textual Analysis

  • Re-examines the Role of Sovereignty:
    • Offers a nuanced genealogy of sovereignty as a category, impacting readings of authority, legitimacy, and subjectivity in literature.
    • Quotation: “A number of different presuppositions circulated under sovereignty’s sign… beneath the too often taken-for-granted categorical presentation of sovereignty was a rich and overdetermined diversity of texts and thinkers.” (p. 489)
  • Highlights the Return and Complexity of Sovereignty:
    • Engages with how sovereignty re-emerges in both theory and textual politics, rather than being obsolete.
    • Quotation: “If Agamben and Hardt and Negri alike employ biopolitics in order to emphasize the ‘return’ of sovereign power… what results are two very different ‘homecomings’.” (p. 505)

Critical Theory: Problematizing Universal Categories

  • Against Universalism in Theory:
    • Critiques the tendency to treat biopolitics or sovereignty as universal, ahistorical categories in theoretical and literary analysis.
    • Quotation: “We submit that Agamben as well as Hardt and Negri deploy biopolitics in both metaphysical and metageographical ways.” (p. 490)
  • Stresses the Plurality of Theoretical Traditions:
    • Reminds scholars to respect the multiplicity and contestation in theory, rather than collapsing differences.
    • Quotation: “Biopolitics should be approached as a site of fervent definitional struggle and disagreement.” (p. 505)

🏛️ Spatial Theory and Geographies of Power in Literature

  • Spatiality as Crucial to Literary Analysis:
    • Encourages attention to spatial and geographical differences, avoiding abstractions in analyzing literary power dynamics.
    • Quotation: “Their [Agamben and Hardt & Negri’s] shared metaphysical deployment of biopolitics is at quite some remove from Foucault’s geographically and historically grounded investigation of state power.” (p. 491)
  • Challenges Flattened Global Space in Literary Texts:
    • Critiques “the drive to finalization and totalization that accompanies various mappings, visualizations, landscapings, and metaphorizations of space in postfoundational theory.” (p. 490, citing Sparke)

🔬 Theory of Subjectivity: Life, Death, and the Politics of the Body

  • Enriches Theorization of Subjectivity and Bare Life:
    • Provides resources for literary theory to think about bodies, death, and subjectivity—especially in readings of Agamben (bare life) and Foucault (discipline and biopolitics).
    • Quotation: “Homo sacer is a life doubly excluded—such that it can be killed without the charge of murder, and yet not sacrificed.” (p. 496)

🌍 Genealogy and Critique: Methodological Guidance for Theory

  • Promotes Genealogical, Context-Sensitive Critique:
    • Recommends Foucault’s “inductive, genealogical, and time-specific and place-specific use of the concept” as a model for literary theory (p. 490).
  • Encourages Resistance to Metaphysical Totalizations:
    • Advocates for methodological caution in adopting metaphysical or universalizing frameworks in theory and criticism.
    • Quotation: “For Foucault… biopolitics itself warrants explanation—a modern technology of government whose contingency on earlier experiments in political and economic governance is the problem to be examined.” (p. 501)

Examples of Critiques Through “Biopolitics, Biopower, And The Return Of Sovereignty” by Mathew Coleman And Kevin Grove
Literary Work Example of Critique Through Coleman & Grove’s Framework
🏛️ 1984 by George OrwellBiopower & Sovereignty: Analyze the Party’s total surveillance, control over bodies, and regulation of life and death as an example of biopower and the ever-present return of sovereignty. “What we get from Agamben and Hardt and Negri is a remarkably incongruent deployment of Foucault and of biopolitics. As a result, we also get very different mappings of how power works and to what ends.” (p. 490)
⚕️ Never Let Me Go by Kazuo IshiguroBare Life & Thanatopolitics: Critique how the clones are reduced to “bare life,” stripped of legal and social rights, subject to biopolitical management of bodies and eventual death, paralleling Agamben’s homo sacer.“Homo sacer is a life doubly excluded—such that it can be killed without the charge of murder, and yet not sacrificed.” (p. 496)
🔬 The Handmaid’s Tale by Margaret AtwoodGovernmentality & Biopolitics: Examine the state’s use of reproductive regulation and bodily control as forms of governmentality and biopolitical governance, echoing Foucault’s insights.“Government is… about the relative durability of regimes of truth in relation to institutionalized practices—systems of power/knowledge.” (p. 491)
🚧 The Road by Cormac McCarthyThresholds & Sovereign Ban: Critique the novel’s depiction of a post-sovereign world where the normal order is suspended, yet sovereign decisions over life and death persist at the margins—mirroring Agamben’s threshold/ban and thanatopolitics.“The ban is a Möbius-ribbon-type limit between the states of law (nomos) and nature (physis)…” (p. 496)
Criticism Against “Biopolitics, Biopower, And The Return Of Sovereignty” by Mathew Coleman And Kevin Grove

🧐 Overemphasis on Theoretical Multiplicity

  • The article’s insistence on the plurality and contestation of “biopolitics” can risk a kind of critical relativism, making it difficult for scholars to apply the concept productively in specific contexts.
  • Critics might argue that “problematizing” every use of biopolitics leads to endless debate rather than clarifying theoretical stakes.

📚 Limited Engagement with Literary Examples

  • While highly relevant for literary and cultural theory, the article remains abstract and seldom provides close readings or applications to actual literary works.
  • Some may critique that the lack of engagement with narrative or textual material makes its relevance to literary criticism less immediately practical.

🧭 Potential Neglect of Political Urgency

  • By focusing so much on conceptual nuance and genealogical differentiation, the authors may downplay the urgent political realities that drive the widespread use of biopolitics, such as health crises, migration, or state violence.
  • Critics may contend that the article risks academicism at the expense of political commitment.

🗺️ Underplaying Local and Material Differences

  • Although the article cautions against universalizing biopolitics, some critics might argue it still works mostly at the level of theory, insufficiently foregrounding local, material, or intersectional differences (e.g., race, gender, colonial histories) that shape biopolitical realities.

🔄 Heavy Reliance on Other Theorists

  • The critique of Agamben and Hardt & Negri, while valuable, is heavily mediated through Foucault’s framework.
  • Some critics might see this as a Foucauldian bias, possibly limiting the exploration of genuinely alternative approaches to biopolitics or sovereignty.

🤔 Risk of Conceptual Paralysis

  • By problematizing the use of “biopolitics” so thoroughly, the article may leave readers unsure how to move forward analytically or politically with the concept.
  • This could inadvertently undermine the value of biopolitics as a tool for critique.

📈 Lack of Empirical Case Studies

  • The article is deeply theoretical and does not supplement its analysis with empirical or case-based illustrations of biopolitical governance, which could limit its broader applicability and resonance beyond theory.
Representative Quotations from “Biopolitics, Biopower, And The Return Of Sovereignty” by Mathew Coleman And Kevin Grove with Explanation
QuotationExplanation
🟢“The concept of biopolitics has recently become fashionable: it is often, and enthusiastically, invoked in every kind of context. We should avoid this automatic and unreflective use of the term.” (p. 489, quoting Virno 2004, p. 81)The authors caution against the uncritical proliferation of “biopolitics,” arguing for a more rigorous, reflective deployment that acknowledges its theoretical complexities.
🟠“Our goal here is to draw attention to multiple competing definitions of biopolitics, and in so doing problematize the term as a catchall category to describe either the ‘nonsovereign’ or the ‘postsovereign’ operation of power.” (p. 490)This highlights their intention: to challenge any simplistic or monolithic use of “biopolitics” and instead expose its contested meanings.
🔵“That the biopolitical is not the same for all those who invoke it is frequently elided.” (p. 490)The authors emphasize the conceptual diversity and ongoing disputes about what counts as “biopolitical” among theorists and critics.
🟣“Biopolitics is for these thinkers alike a key aspect of sovereignty’s spatially reconfigured ‘return’ to the center of contemporary theorizing on power.” (p. 491)They point out that thinkers like Agamben and Hardt & Negri see biopolitics as fundamentally tied to the ongoing centrality—or “return”—of sovereignty in modern theory.
🟤“We are not going to try and adjudicate between different uses of biopolitics according to some allegedly original definition provided by Foucault. The chief difficulty here is Foucault’s own speculative approach to the concept, which we understand as an incitement to experiment rather than as a definition to be abided by.” (p. 491)The authors position Foucault’s use of “biopolitics” as experimental and open-ended, resisting fixed or final definitions.
🔴“Agamben’s use of biopolitics works with his concept of the threshold to erase the unevenness of political, economic, and social space.” (p. 492)The critique here is that Agamben’s “threshold” concept can homogenize space, glossing over material and historical differences in biopolitical arrangements.
🟡“Hardt and Negri’s interpretation of biopolitics maps out a global system of domination and resistance that elides the multiple and complex historically and geographically specific forms these struggles take.” (p. 492)Similarly, the authors note that Hardt and Negri risk flattening the complexities of local, specific resistance by theorizing biopolitics as universally global.
🟩“For Foucault, as Elden summarizes, power was ‘everywhere, not because it embraces everything, but because it comes from everywhere.'” (p. 498, quoting Elden 2001, p. 106)This quotation underlines a core Foucauldian insight: power is diffuse and immanent, not totalizing—contrasting with Agamben’s or Hardt & Negri’s universalizing metaphors.
🟧“For both Agamben and Hardt and Negri, then, we contend that biopolitics works as a sort of ontological and metaphysical anchor, a transcendentalizing condition of possibility for the human condition.” (p. 505)The authors argue that these theorists risk turning biopolitics into a metaphysical constant, losing its critical, context-specific edge.
🟦“Biopolitics should be approached as a site of fervent definitional struggle and disagreement.” (p. 504)Their conclusion: biopolitics is best understood as a contested concept, whose value lies in ongoing debate, not closure.
Suggested Readings: “Biopolitics, Biopower, And The Return Of Sovereignty” by Mathew Coleman And Kevin Grove
  1. Coleman, Mathew, and Kevin Grove. “Biopolitics, biopower, and the return of sovereignty.” Environment and Planning D: Society and Space 27.3 (2009): 489-507.
  2. AISTARA, GUNTRA A. “Tomatoes Out of Time: Multispecies Biopolitics and Multiethnic Socialities in Postsocialist Europe.” Moveable Gardens: Itineraries and Sanctuaries of Memory, edited by VIRGINIA D. NAZAREA and TERESE V. GAGNON, University of Arizona Press, 2021, pp. 85–110. JSTOR, https://doi.org/10.2307/j.ctv1mq8477.9. Accessed 26 July 2025.
  3. GRANDE, SANDY. “THE BIOPOLITICS OF AGING: Indigenous Elders as Elsewhere.” Biopolitics, Geopolitics, Life: Settler States and Indigenous Presence, edited by RENÉ DIETRICH and KERSTIN KNOPF, Duke University Press, 2023, pp. 67–84. JSTOR, https://doi.org/10.2307/jj.362391.7. Accessed 26 July 2025.