Modernism and postmodernism – Aestheticisation and the death of art – Resistance and aesthetic redundancy – After autonomy – Postmodern morality – After educationality – Culture is everywhere
Much has been made in this book of the idea of modern culturaltheory being ultimately ethical in its aims and outlook. Or at least, our principles of reading in relation to Adorno, Bourdieu and Foucault have been, in effect, ethico-critical ones; emphasising that these thinkers are best read not simply in ‘positive’ or epistemic terms but as contributing to
This book is concerned with the scope of cultural theory in its modern, it might even be said in its modernist, form. The three thinkers under most consideration in the book are Theodor Adorno, Michel Foucault and Pierre Bourdieu, who might hardly be seen as representatives of cultural theory per se if that enterprise is taken to be what it should often taken to be. The book starts with Adorno (1903-1969) not just because his work is an apt way to introduce further some very basic themes of the book: in particular those of critical autonomy and educationality. Adorno's reflections on art and culture are contributions to the ethical understanding of autonomy, emphasising the importance of the cultivation of critical reflection. The argument here is that he is, rather, an ethico-critical theorist of democracy and a philosopher of hope. The book then situates the work of Michel Foucault (1926-1984), in other ways so different from Adorno, in terms of a broadly, if minimally, parallel agenda in modern cultural theory. It outlines some of the importance of Foucault's notion of an 'aesthetics of existence' in relation to his work as a whole. It further invokes related themes in the work of Pierre Bourdieu (1930-2002). Finally, it moves things in a different direction, towards postmodernism, invoking the increasing role of the cultural and aesthetic dimension in contemporary experience that is often taken as a central aspect of the postmodern turn.
The aim of this book is to make available a body of texts connected with the cultural phenomenon known as Gothic writing. The book includes many of the critical writings and reviews which helped to constitute Gothic as a distinct genre, by revisions of the standards of taste, by critique and by outright attack. Together, this material represents a substantial part of the discursive hinterland of Gothic. The chapters on supernaturalism, on the aesthetics of Gothic, and on opposition to Gothic contain a number of the standard references in any history of the genre. They are juxtaposed with other more novel items of journalism, religious propaganda, folk tradition, non-fictional narrative, poetry and so on. The book also includes chapters on the politics of Gothic, before and after the French Revolution. Therefore, it includes extracts from Tacitus and Montesquieu, the authorities that eighteenth-century commentators most often referred to. The story of Britain's Gothic origins, although implicitly progressivist, was to be re-fashioned in the cultural and sociological theories critical of modern society: that vital eighteenth-century trend known as primitivism. The book also broadly covers the period from the height of the Gothic vogue (in the mid-1790s) to the mid-nineteenth century. The author hopes that the book will encourage students to follow new routes, make new connections, and enable them to read set works on the syllabus in more adventurous and historically informed ways.
Ethics and educationality again – Politics – The status of modern culturaltheory – Modernism and anti-romanticism – Theory and empiricism
This book has claimed that there is – or was – such a thing as modern culturaltheory and argued that there is – or was – something ultimately ethical about it. It would no doubt be an understatement to observe that a great many issues and problems remain. Of the many, perhaps four stand out in particular. There is still, naggingly, the question of the exact status of this entity, modern culturaltheory
Culturalisms – Truth – Enlightenment and autonomy – Reason – Norms of modernism – Culture, creativity and reflexivity – Institutionalisation versus reflexivity – Simmel: an excursus – The antinomy of culture
This chapter seeks to get clear of – if hardly to refute – various understandings of culture so as to make way for the conception of the scope of modern culturaltheory which is to animate our treatment here. The first section – Culturalisms – is, then, largely about what modern culturaltheory is not. It attempts only to lay the basic
Ethics and educationality – Disciplinarity – Principles of reading – Theory and detachment – Problematics – Reconstructing modern culturaltheory – Adorno, Foucault, Bourdieu
This book is concerned with the scope of culturaltheory in its modern – it might even be said in its modernist – form. This introductory chapter considers what this concern might mean, and why it might be of interest.
Ethics and educationality
The three thinkers under most consideration in the pages that follow – Theodor Adorno, Michel Foucault and Pierre
experimental readings of a number
of texts by writers whose own diverse inquiries into the condition of
modernity have found prominence in the annals of twentieth-century
philosophy and culturaltheory. This resulting cocktail of chapters I
pass on to the reader to take as they wish. Together they offer a series of
oblique and partial entries principally to the work of Freud, Benjamin,
Sartre, Derrida, Foucault and Deleuze, in each case from the perspective
of their encounters with drugs or on the basis of where the theme of
‘drugs’ touches upon their writings.
bibliography can also be
found in Goudie A. and D. Stasavage, ‘Corruption: the issues’, Working Paper
No. 122, OECD Development Centre (1997), pp. 1–53.
23 Chibnall, S. and P. Saunders, ‘Worlds apart: notes on the social reality of corruption’, British Journal of Sociology, 28 (1977), pp. 138–54; Flyvbjerg, ‘Habermas and
Foucault’, pp. 210–33.
24 Chibnall and Saunders, ‘Worlds apart’, pp. 138–52.
25 For introductions see Gunn, S., History and CulturalTheory (Harlow: Longman,
2006); and Burke, P., What Is Cultural History (Cambridge: Polity Press, 2008).
26 Grayling, A
In this chapter I want to
instance disorientation and leverage in the university by exploring
the problematic doubleness of economics as indeterminately both
inside and outside contemporary culturaltheory. Here, I shall argue
that the interdisciplinary approach of cultural analysis has a
certain amount of difficulty positioning economics as either simply
Theory of the novel and the eccentric novel’s early play with theory
Sharon Lubkemann Allen
theory of the novel
and the eccentric novel’s
early play with theory
entric novel’s early play with theory
Theorists such as Felman borrow the spatialized discourse of eccentricity
to describe ex-centric developments in recent French fiction, as do
Deleuze and Guattari in describing a modern shift from a ‘root-book’
model to a fragmented ‘radicle-system or fascicular’ model.1 But Russian
and Brazilian nineteenth-century literature and early twentieth-century
culturaltheory anticipate and complicate Deleuze and Guattari’s
ideas of modernist fascicular