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Thomas Osborne

3237TheStructureofModernculturaltheory.qxd:2522Ch1.qxd 6/8/08 10:39 4 Bourdieu, ethics and reflexivity Anthropology – Relationism and habitus – Freedom and culture – Distinction – Reflexivity – High art – Sociologisms – Creativity and autonomy – The autonomisation of art – Creativity again – Half-against Bourdieu – Denunciation – Ethics – Science – Reflexivity again – Intellectual sociology – Auto-analysis – Intellectualism and ambivalence – Antinomies of universalism – Difficult autonomy – Educationality and cultural theory Pierre Bourdieu was a contrarian

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‘Liquid’ modernity vs ‘reflexive’ modernity

Bauman’s problem of agency, again

Ali Rattansi

‘Liquid’ modernity vs ‘reflexive’ modernity: Bauman’s problem of agency, again Bauman’s conception of agency has been a source of some debate, and has often been tied in to a concern over whether he is fundamentally a pessimist or an optimist (Dawson 2012). Earlier in the book I have had occasion to draw attention to some of the points at which Bauman’s sociology wipes out agency, for example when he relies on abstract reifications of social forms such as ‘modernity’ and ‘postmodernity’, or when consumers are treated as being so driven by the urge to consume

Open Access (free)

James Bohman

MCK6 1/10/2003 10:26 AM Page 111 6 Reflexive toleration in a deliberative democracy James Bohman Any feasible ideal of democracy must face the unavoidable social fact that the citizenry of a modern state is heterogeneous along a number of intersecting dimensions, including race, class, religion and culture. If that ideal is also deliberative, and thus requires that citizens commit themselves to making decisions according to reasons they believe are public, then such diversity raises the possibility of deep and potentially irresolvable conflicts. When

Open Access (free)

Andrew Monaghan

many salient features of the political landscape that did not fit the abridged story. Indeed, in many ways, this mainstream orthodoxy was an automatic response to the stimulus of seeing protests as precipitating democratic upheaval and the end of Putin, a reflexive return to ‘transitionology’ and the hope for democratic change in Russia. In the excitement, the protest demonstrations, often hailed

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His Dark Ingredients

The Viscous Palimpsest of Charles Maturin‘s Melmoth the Wanderer

Keith M.C. O‘Sullivan

Charles Maturin‘s Melmoth the Wanderer (1820) is often considered the last major work in the corpus of Romantic-period Gothic. This paper draws upon that text and Maturin‘s correspondence, especially his sermons, in which the author incarnates a rich matrix of dichotomies, to offer a reading of the subtle metatextual and autobiographical qualities of the novel. Maturin‘s conflicted identity as clergyman and literary parvenu afford understanding of the nature of, and challenges posed by, this complex work. Like Maturin‘s preaching, Melmoth bears witness to and sympathy with its time. Yet it also bears the imprints or multiple scripts of historical and psychological forces contributing to its formation. Ostensibly a Gothic romance engaged with the dialectic of high Romanticism, it is shown to be a self-reflexive text, with ambivalence towards its own literary form. The plethora of tales within Maturin‘s novel represent an attempt to convey and self-validate a fabric of a created national history, but Melmoth is shown to both use and indict the ideological structures that it has employed to create its own texture. It is suggested that detail of torture and anatomisation of belief represent an unconscious self-dramatisation.

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Nathaniel Leach

This article argues that Charles Maturins Melmoth the Wanderer embodies an ethical attitude towards its representations of Gothic violence and horror in the way that it self-reflexively stages its horrific scenes. By confronting its readers with a shifting distance from such violent scenes, the novel exposes readers to their own desire for and victimization by Gothic horror. While previous critics have tended to see Maturins novel as either glorying amorally in its excessive Gothic representations, or as recuperating its scenes of horror with a moral message, this article sees its ambiguous and undecidable attitude towards these scenes as embodying its ethical standpoint, a standpoint that challenges the illusion of literary coherence and that exposes its readers’ implication in the horror that lies traumatically within, and not safely outside, language.

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Clinical Gothic

Sensationalising Substance Abuse in the Victorian Home

Tamara Wagner

Controversies about the mid-Victorian sensation novel newly brought to the fore clinical conceptualisations of novel reading as an addiction. Yet as novelists capitalised on the sensational potential of substance abuse at home as part of the genre‘s rupture of ideologies of domesticity, they juxtaposed the consumption of sensational material with other emotional and physical dependencies, while reading could be a panacea or cure. M. E. Braddon‘s John Marchmont‘s Legacy (1863) and Wilkie Collins‘s The Law and the Lady (1875) form particularly revealing examples of self-reflexive sensation novels that capitalise on a clinical Gothic of addiction by appropriating discourses that had, ironically, attacked the sensation genre most virulently.

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Mattias Frey

This article addresses the current state of film studies as a discipline, profession and institution, arguing that the hunt for cultural authority has been the defining feature, motivating force and tragic flaw of film studies. The current self-reflexive soul- searching reveals that the field – no longer a radical upstart – still lacks the gravitas of more established subjects. Departments have responded to identity crises and changing enrolment patterns by mummifying, killing off or burying foundational emphases. The nostalgia for film studies origins and the jeremiads about an unmanageable, unruly and recalcitrant discipline yield rose-tinted fantasies about community and mutual intelligibility that must be ultimately resisted.

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The Position of Women in Post-War Japanese Cinema (Kinema Junpō, 1961)

Alejandra Armendáriz-Hernández and Irene González-López

In contrast to the canonical history of cinema and film theory, often dominated by academic texts and Western and/or male voices, this article presents a casual conversation held in 1961 between four of the most influential women in the post-war Japanese film industry: Kawakita Kashiko,,Yamamoto Kyōko, Tanaka Kinuyo and Takamine Hideko. As they openly discuss their gendered experience in production, promotion, distribution and criticism, their thoughts shed light on the wide range of opportunities available to women in filmmaking, but also on the professional constraints,and concerns which they felt came along with their gender. Their conversation reveals how they measured themselves and their national industry in relation to the West; at times unaware of their pioneer role in world cinema. This piece of self-reflexive criticism contributes to existing research on both womens filmmaking and the industry of Japanese cinema, and invites us to reconsider non-hegemonic film thinking practices and voices.

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Vito Zagarrio

The one-shot sequence – the articulation of an entire scene through a single, unbroken long take – is one of the cinema’s most important rhetorical devices and has therefore been much used and widely theorised over the years. This article provides a brief overview of these theories and of the multiple ways in which the one-shot sequence has been used both in world cinema (in general) and Italian cinema (in particular) in order to contextualise its use by one of Italian cinema’s best-known and most significant practitioners, Paolo Sorrentino. Through close analyses of one-shot sequences in Sorrentino’s films L’uomo in più/One Man Up, Le conseguenze dell’amore/The Consequences of Love, This Is the Place and Il divo – La vita spettacoloare di Giulio Andreotti – the article argues that Sorrentino’s predilection for the device is best explained by the wide variety of functions that it serves (as a mark of directorial bravura and auteur status; as a self-reflexive device and meditation on the cinematic gaze; as a political tool; and as a means of generating emotion). While rooted in history, Sorrentino’s use of the one-shot sequence thus transcends its position within Italian film history and discourse.