While much has been written about relativism, multiculturalism and dialogue the case of education is special as in education the teacher aims to promote a set of values. This role of the teacher as bearing a worldview to be advanced is rarely addressed in the literature and is the focus of this paper. In the first section we explore the concept of polyphony and the vision it presents for education. We then turn to the idea of dialogue as developed by (...) Bakhtin and present a communicative model conducive to a polyphonic educational environment. In the third section we portray the dynamics of polyphony in the classroom suggesting an analysis of the parameters defining the participants in the educational setting and the relations between them. We conclude by drawing the implications of our position to the question set out above: the paradox the teacher is subject to in advancing a set of values in a dialogue with students. (shrink)

In 2008 Science Magazine and the American Academy for the Advancement of Science hosted the first ever Dance Your PhD Contest in Vienna, Austria. Calls for submission to the second, third, and fourth annual Dance Your PhD contests followed suit, attracting hundreds of entries and featuring scientists based in the US, Canada, Australia, Europe and the UK. These contests have drawn significant media attention. While much of the commentary has focused on the novelty of dancing scientists and the function of (...) dance as an effective distraction for overworked researchers, this article takes seriously the relationship between movement and scientific inquiry and draws on ethnographic research among structural biologists to examine the ways that practitioners use their bodies to animate biological phenomena. It documents how practitioners transform their bodies into animating media and how they conduct body experiments to test their hypotheses. This ‘body-work’ helps them to figure out how molecules move and interact, and simultaneously offers a medium through which they can communicate the nuanced details of their findings among students and colleagues. This article explores the affective and kinaesthetic dexterities scientists acquire through their training, and it takes a close look at how this body-work is tacitly enabled and constrained through particular pedagogical techniques and differential relations of gender and power. This article argues that the Dance Your PhD contests, as well as other performative modalities, can expand and extend what it is possible for scientific researchers to see, say, imagine and feel. (shrink)

The Satyricon as a whole has long been recognized as deeply indebted to the Odyssey, both in its individual episodes and as an adventure narrative, and perhaps even as an extended parody of Homer's poem. However, the longest extant episode of the Satyricon, the Cena Trimalchionis, has traditionally been thought to contain only glancing references to the Odyssey. This article demonstrates the importance of the Odyssey as a primary intertext for the Cena Trimalchionis. While Plato's Symposium and Horace's Satire 2.8 (...) are recognized influences on the Cena, Odysseus's visit to the Phaeacians and the account he gives there of his adventures are even more systematically and repeatedly alluded to, evoked, and reworked in the Cena. Petronius appropriates episodes from the adventures of Odysseus from his arrival on Scheria to his encounters with the Lotus-Eaters, Circe, Scylla and Charybdis, the Sirens, and the Cyclops. These and other episodes are transmuted and incorporated into the world and experience of Trimalchio's dinner party in a variety of ways: as clever extended allusions, as epic reworked in folktale form, as contemporary events occurring in the midst of Trimalchio's dinner party. What emerges from this discussion is the recognition that the Cena Trimalchionis is much more integrated into the overall narrative and thematics of the rest of the Satyricon than heretofore appreciated. (shrink)

Using embodied sociology, this article offers a virtual ethnography of ‘fat male embodiment’. Reporting and analysing qualitative data generated online, it includes a typology of big/fat male body-subjects and supportive/admiring others. These fat-friendly typifications are unpacked by referencing advocated codes of self–body relatedness, sexualities and the relevance of food. The virtual construction of acceptable, admirable or resistant masculinities is then explored under the following headings: (1) appeals to ‘real’ or ‘natural’ masculinity; (2) the admiration and eroticization of fat men’s bodies; (...) (3) transgression, fun and the carnivalesque; and (4) the pragmatics and politics of fat male embodiment. While alternative (positive) understandings of fatness are presented online, discrepancies between virtual and actual identities render stigma an ever-present possibility for those with ‘real’ fat male bodies. (shrink)

(2001). An alternative strategy for transcultural communication: Dialogic understanding of multiple voices. World Futures: Vol. 57, Future Trends in Communications Strategies, pp. 583-597.

Philosophy projects a certain understanding of reason that is related to the ways in which the city figures in its imaginary. Conversely, the city is a practice of spatialization that determines the ways in which agents are able, or unable, to live out their social agency. This essay focuses on the ways in which philosophy and the city's spatializing practices and imaginaries inform differential ways of living out social agency. The thrust of the investigation is to discern the ways in (...) which sexism - differential engendering - results from the relationship that exists between philosophy and the city. To illustrate this link between philosophy, the city, and differential engendering, the work turns to a consideration of Jean-Paul Sartre's phenomenology, which is taken as an exemplary illustration of the entwinement between the philosophical imaginary, and the perception and reception of the city. (shrink)

Philosophy projects a certain understanding of reason that is related to the ways in which the city figures in its imaginary. Conversely, the city is a practice of spatialization that determines the ways in which agents are able, or unable, to live out their social agency. This essay focuses on the ways in which philosophy and the city's spatializing practices and imaginaries inform differential ways of living out social agency. The thrust of the investigation is to discern the ways in (...) which sexism - differential engendering - results from the relationship that exists between philosophy and the city. To illustrate this link between philosophy, the city, and differential engendering, the work turns to a consideration of Jean-Paul Sartre's phenomenology, which is taken as an exemplary illustration of the entwinement between the philosophical imaginary, and the perception and reception of the city. (shrink)

This article sets the stage for a genealogy of the postgenomic body. It starts with the current transformative views of epigenetics and microbiomics to offer a more pluralistic history in which the ethical problem of how to live with a permeable body – that is plasticity as a form of life – is pervasive in traditions pre-dating and coexisting with modern biomedicine (particularly humoralism in its several ramifications). To challenge universalizing narratives, I draw on genealogical method to illuminate the unequal (...) distribution of plasticity across gender and ethnic groups. Finally, after analysing postgenomics as a different thought-style to genomics, I outline some of its implications for notions of plasticity. I argue that postgenomic plasticity is neither a modernistic plasticity of instrumental control of the body nor a postmodernist celebration of endless potentialities. It is instead closer to an alter-modernistic view that disrupts clear boundaries between openness and determination, individual and community. (shrink)

Thai installation art provides a view into modern, non-monastic experiences of Buddhism. Buddhist practice and scholarship often depend on centuries-old ritual practices and texts, and designated religious sites and persons. However, installation art illumines a fluxing and organic Buddhism – and one that is increasingly globalised and public. An evolving artistic zeitgeist is fused with classical tenets of Buddhism and diverse spiritualties. Each with a unique flair and multi-media repertoire, artists such as Jakkai Siributr, Montien Boonma, Sarawut Duangjampa, Chalermchai Kositpipat (...) and others are offering creative contemplations on Buddhism today. Their works are often experienced in a leisurely fashion by the attending public, amidst social outings or intellectual excursions. People are encouraged to react however they wish to installations, which are themselves fundamentally transient – lasting usually between three and six months. Buddhism is thus asserted as an on-going project: a continual discovery rather than a quest for knowledge from the past. (shrink)

Disaster scholars have long complained that their field is theory light: they are much better at doing and saying than analyzing. The paucity of theory doubtless reflects an understandable focus on case studies and practical solutions. Yet this works against big picture thinking. Consequently, both our comprehension of social suffering and our ability to mitigate it are fragmented. Communitas is exemplary here. This refers to the improvisational acts of mutual help, collective feeling and utopian desires that emerge in the wake (...) of disasters. It has been observed for as long as there has been a sociology of disasters. Within the field, there have been numerous efforts to name and describe it. Yet there has been far less enthusiasm to theorize it, which means that the disaster literature has not adequately explained the social conditions under which communitas arises (or fails to). In this article, we synthesize numerous case studies to do so. This takes us beyond simple statements of what communitas is and what it should be called, to considerations of the conditions under which it emerges, how it should be conceptualized, the factors that might prevent communitas, and how we might encourage it. While primarily a theoretical work, the identification of communitas’ facilitators and barriers have practical import for disaster risk reduction (DRR) policy as communitas has frequently proven to be a positive and potent force. (shrink)

The Russian intelligentsia emerged and existed in diversity due to specific political and social conditions within Russian society. The intelligentsia was more than just a class or group of educated people. The present article is an attempt to give a retrospective interpretation of the Russian intelligentsia and its transformation into the Soviet one in the 1920s, when Vygotsky also was an engaged actor in different programmes. At that time the political was as sharp and critical as the scientific, and science (...) became an arena of radical political clashes and struggle. The contradictory historical atmosphere and the sincere wish of a new Soviet state to create a new society made it possible for young scholars to assume their positions in science very rapidly. (shrink)

By observing the mediating role of Pomarańczowa Alternatywa [Orange Alternative], the Polish artistic-activist formation of the 80s and 90s, this paper aims to determine the properties, values and ideals that make a piece of art a public act that can engage people from different social groups in play, and can allow them to reveal their self-determining agency in light of social change. Within the system of varying degrees of social permission, art should allow for the transition from the realm of (...) the “unofficial” to the realm of the “forbidden,” and should facilitate a transformation from the realm of thought to the realm of action. Art introduces an element of play into the sphere of collective behavior, and is a bridge over dichotomous social and political forces. (shrink)

In April 2017, scientists and science sympathizers held marches in the United Kingdom as part of a coordinated international March for Science movement that was held in over 600 cities worldwide. This article reports from participant-observation studies of the marches that took place in London and Cardiff. Supplemented with data from 37 interviews from marchers at the London event, the article reports on an analysis of the placards, focusing on marchers’ concerns and the language and images through which they expressed (...) those concerns. How did the protesters articulate their concerns and objectives, and how were these articulations used to build a community? The placards did not represent a clear, focused, and unifying message; they instead illustrated disparate concerns ranging from human-induced climate change, Trump and “alternative facts,” and local UK specific political issues concerning the country’s exit from the European Union. Our analysis shows that placards gave a playful and whimsical character to the march, with slogans displaying significant amounts of humor, often formulated through insider jokes, scientific puns, or self-deprecating appropriation of negative stereotypes about scientists. We analyze the march through the social movement literature and as a collective identity-building exercise for an community of scientists and sympathizers with long-term aims of establishing a louder voice for scientists, and experts, in public discourse. (shrink)

In this article we analyze the social memories of the Vietnam War afforded by tourism at the Cu Chi battlefield. Specifically, we explore the experiences of tourists at the site in order to address the under-theorized relationship between carnivalesque and dialogical discourses. Drawing on field interviews and ethnographic engagement with young adult Western tourists who took tours led by Vietnamese guides, we document how the tourists’ playful engagement with the past at Cu Chi facilitates the development of new dialogical memories (...) of the war. Our interviews reveal a strong concern with the suffering of both occupying forces and the Vietnamese communist forces, a finding that points to the need for scholars to better appreciate the multiplicity of ways that social performances function in shaping social memory. Ultimately, we challenge social performance theories whose explanations reduce shifts in social memory to audience interpretations of authenticity. (shrink)

This essay assesses the use of excrement as a cultural trope in a posthumanist era. Drawing on insights from feminist, postcolonial, and animal theory, it proposes that Fossey and the film Gorillas in the Mist are popularized versions of a recurring narrative that posits feces as a sign of the both material and symbolic fluid boundaries between human and nonhuman animals, colonizers and natives, men and women, and science and nature. Specifically, Gorillas in the Mist transposes Fossey's study of gorilla (...) "dung" in the jungle, the essay demonstrates, as a repetition of the enunciation "shit." In both written and spoken form, excrement mediates between, and ultimately merges, the identities of Fossey and the mountain gorillas. In the conclusion, the essay raises some problems in theorizing the relationship between postcolonial and posthumanist theory. (shrink)

The proposal of the ‘Anthropocene’ as a new geological epoch where humans represent the dominant natural force has renewed artistic interest in the ‘geopoetic’, which is mobilized by cultural producers to incite changes in personal and collective participation in planetary life and politics. This article draws attention to prior engagements with the geophysical and the political: the work of Simone Weil and of the editors of the Martinican cultural journal Tropiques, Suzanne and Aimé Césaire. Synthesizing the political and scientific shifts (...) in human-world relationships of their time, both projects are set against oppressive or narcissistic materialisms and experiment with the image of the ‘cosmic’ to cultivate a preoccupation not with a tangible materialism but with an intangible one that emphasizes process and connectivity across wide spatial and temporal scales. The writers’ movement between poetics and politics will be used to enquire what kind of socio-political work a contemporary geopoetic could potentially do. (shrink)

The article argues that the work of literary theorist Mikhail M. Bakhtin presents a starting point for thinking about the instrumentalization of climate change. Bakhtin’s conceptualization of human–world relationships, encapsulated in the concept of ‘cosmic terror’, places a strong focus on our perception of the ‘inhuman’. Suggesting a link between the perceived alienness and instability of the world and in the exploitation of the resulting fear of change by political and religious forces, Bakhtin asserts that the latter can only be (...) resisted if our desire for a false stability in the world is overcome. The key to this overcoming of fear, for him, lies in recognizing and confronting the worldly relations of the human body. This consciousness represents the beginning of one’s ‘deautomatization’ from following established patterns of reactions to predicted or real changes. In the vein of several theorists and artists of his time who explored similar ‘deautomatization’ strategies – examples include Shklovsky’s ‘ ostranenie’, Brecht’s ‘ Verfremdung’, Artaud’s emotional ‘cruelty’ and Bataille’s ‘base materialism’ – Bakhtin proposes a more playful and widely accessible experimentation to deconstruct our ‘habitual picture of the world’. Experimentation is envisioned to take place across the material and the textual to increase possibilities for action. Through engaging with Bakhtin’s ideas, this article seeks to draw attention to relations between the imagination of the world and political agency, and the need to include these relations in our own experiments with creating climate change awareness. (shrink)

South Park, as a narration of late capitalist concerns, has much in common with works from earlier carnival historical epochs, most importantly Gargantua and Pantagruel and its depiction of folk traditions of consumptive culture. Madness, hallucination, excrement, homosexuality, cuckoldry, flowering anuses, zombies, monstrosity, gambling, banquets, viral contagion, grotesque consumption all become signs of a historical epoch which exists in a repetitious and catastrophic sacrificial crisis, a period of terrifying recurrence of the same and effacement of the `immense freedom' of ascetic (...) reflexivity. Bataille's, Foucault's and Nietzsche's originally transgressive concerns for theorizing, via genealogy and heterology, the expulsed matter of a disciplinary, segmented metaphysics of the transcendent, regularized subject, become, in the age of late capitalism's appropriation of carnival traditions, the dominant logic, displaying a consumptive concern for a terrain of absences and orifices. (shrink)

[Lichas] ‘videbatur mihi secundum quietem Priapus dicere: “Encolpion quod quaeris, scito a me in navem tuam esse perductum”.’ exhorruit Tryphaena et ‘putes’ inquit ‘una nos dormiisse; nam et mihi simulacrum Neptuni, quod Bais tetrastylo notaveram, videbatur dicere: “in nave Lichae Gitona invenies”.’ ‘hinc scies’ inquit Eumolpus ‘Epicurum hominem esse divinum, qui eiusmodi ludibria facetissima ratione condemnat.’ ceterum Lichas ut Tryphaenae somnium expiavit: ‘quis’ inquit ‘prohibet navigium scrutari, ne videamur divinae mentis opera damnare?’ Priapus and Epicurus have frequently been claimed to (...) be major influences, each in their particular way, on the plot and composition of the Satyrica. (shrink)

This paper uses John Dewey's accounts of education, expression, and art to argue that the relegation of artistic expression to the private sphere in fact, paradoxically, undermines the opportunities for human beings to cultivate their own individual autonomy. Insofar as cultural objects are matters of artistic expression, they have the special quality of potentially drawing the attention of the public to their created and contingent character, provided that they are created in a self-consciously shared political environment. I use Bakhtin's account (...) of the " Carnivalesque " to provide an example of a social and political environment that encourages such social participation, and therefore encourages greater human agency, and use this example to point to criticisms of contemporary culture. (shrink)

Although it is widely acknowledged that Foucault’s accounts of the concept of heterotopia remain briefly sketched and somewhat confusing, the notion has provoked many interpretations and applications across a range of disciplines. In particular, it has been coupled with different stages or processes of modernity and persistently linked to forms of resistance. This article re-examines Foucault’s concept through a close textual analysis. It contrasts heterotopia with Lefebvre’s conceptualization of heterotopy and wider formulations of utopia. Drawing on Foucault’s study of the (...) spaces of literature of Borges, and particularly Blanchot, the article argues that heterotopia refers to varied spatial and temporal disruptions that imaginatively interrogate and undermine certain formulations of utopia. It concludes by outlining how heterotopia contests the space in which we live. (shrink)

Bedwetting has confounded the presumed boundaries of the human body, existing in a fluid space, between the normal and pathological. Its treatment has demanded the application of a wide array of different technologies, each based on a distinct conception of the relationship between the body and personality, human organs and personal conduct. In tracing the social history of bedwetting and its regulation, this article examines the ontological assumptions underpinning the treatment of bedwetting and how they have changed over the past (...) two centuries. Through the analysis of medical journals, newspaper articles and magazine advertisements, different topologies are identified which redefine the boundaries of the human body and its capacities. From 16th-century naturalism, in which the human body is subordinated to a cosmic totality, to the circumscribed space of 19th-century paediatrics and the expansive circuits of behavioural psychology and modern psychoanalysis, the body has become multiplied, differently enacted through the application of diverse technologies. It will be shown how coordinating the messy and divergent conceptions of the human body has posed an endemic problem for the human sciences, and how the enduring tension between object enactment and subject constitution is an expression of modern ‘baroque’ subjectivity. (shrink)

This essay examines the political implications of Edo (present-day Tokyo) popular culture in early modern Japan by focusing on the interface between distinct forms of literary and visual representation and the configuration of social order (the status hierarchy and the division of labor), as well as moral and ideological discourses that were conducive to the reproduction of the order. Central to the forms of representation in Edo popular culture was the overarching literary and artistic principle, which I call a phrase (...) adapted from M.M. Bakhtin's work on Fyodor Dostoevsky. By creating a dialogical interaction of divergent voices and perspectives, Edo popular culture created pluralized, contentious images of Tokugawa society, images that underlined contradictory realities that had become widely discernible around the turn of the eighteenth century. The most salient of all the contradictions was the growing disjuncture between the ideological premise of social and economic hierarchies and their actual reversals. The dialogic imagination captured and accentuated the fluid and dynamic social interactions that threw the formal arrangements of social order into disarray, as well as the widely perceived tensions originating from these interactions, by supplying images that sharply contrasted with those that the Tokugawa authorities worked hard to foster and defend: of a harmonious, self-contained, and perfectly functioning society. (shrink)

Medical student shows are a prominent feature of medical student life around the world. Following a traditional vaudeville format of skits and songs, the shows are notorious for their exuberance, bawdiness, and lack of political correctness. Despite their widespread prevalence and sometimes hostile reactions, there has been no previous study of these shows. Based on research of scripts, programs, reviews, and oral history, this article explores their history and content and argues that, far from being irrelevant frivolities, these shows serve (...) several important functions. These include the fostering of communal spirit, the development of skills in teamwork, and the collective ventilation of emotional reactions to the process of becoming a doctor. They are one offshoot of the ancient and important tradition of misrule in Western society. (shrink)

Valerie Solanas deserves fresh assessment. An innovator whose aberrant humour has not been fully recognized, Solanas embarked on the male-dominated route of a type of satire that has most commonly been represented in the form of male stand-up comedy. She does not engage in the irony, absurdly overstated ‘femininity’ or parodic self-reference with which many women comedians have ridiculed male behaviour. Her Scum Manifesto (1968) declares war on the patriarchal establishment in all its multiple forms: government, capitalism, the economy, law, (...) work, the family and male sexuality. She uses the term men to condemn all persons of either sex who perpetuate the supremacy of patriarchal institutions, which she believes in all seriousness to be a deadly threat to humanity. Solanas also denounces all forms of withdrawal, separatism and élitism, which, in her view, seriously compromise the wider political applications of SCUM. This paper interprets the notorious shooting of Andy Warhol, which, especially since the film made on this subject, is often uncritically regarded as proof of Solanas’s insanity, as an iconoclastic act of theatre in which Solanas abandoned clear-cut distinctions between life and art. (shrink)

This essay returns to Jacques Derrida’s 1975 essay, “Economimesis,” to account for its unacknowledged Marxist language. Focusing on Derrida’s analysis of the mouth in the Critique of Judgment, this...

I felt happy but a little apprehensive when I received the suggestion from the editors of Science in Context to write a comment on my book Categories of Medieval Culture quite a few years after its first publication and translation. It is always difficult to comment on one's own work, for in such a case there is seldom the necessary degree of “distance” between the author and the commentator. I offer this paper rather as a short account of the direction (...) of my thoughts. (shrink)

(1995). Innovation and change in the production of knowledge. Social Epistemology: Vol. 9, Knowledge (EX) Change, pp. 211-232. doi: 10.1080/02691729508578789.

This essay challenges the prevailing view among critical theorists that laughter’s emancipatory power stems from its ability to speak the truth. The disparate accounts of laughter offered by Plato, Hobbes, and Nietzsche exemplify an alternative strategy for theorizing laughter as a performance of deception, or an experience that mystifies rather than enlightens. While a view of laughter as deceptive may at first appear to reduce laughter’s critical leverage over ideology, I argue that this approach offers a stronger account of its (...) emancipatory power. Speaking the truth does little more than reveal the falsity of ideology, and laughter’s capacity to actually transform society hinges on how it deceives differently – namely, in such a way that prompts the imagination and construction of more democratic institutions and modes of relating. The essay concludes by considering the implications of this argument for how we understand the role of truth in critical theory today. (shrink)

This essay challenges the prevailing view among critical theorists that laughter’s emancipatory power stems from its ability to speak the truth. The disparate accounts of laughter offered by Plato, Hobbes, and Nietzsche exemplify an alternative strategy for theorizing laughter as a performance of deception, or an experience that mystifies rather than enlightens. While a view of laughter as deceptive may at first appear to reduce laughter’s critical leverage over ideology, I argue that this approach offers a stronger account of its (...) emancipatory power. Speaking the truth does little more than reveal the falsity of ideology, and laughter’s capacity to actually transform society hinges on how it deceives differently – namely, in such a way that prompts the imagination and construction of more democratic institutions and modes of relating. The essay concludes by considering the implications of this argument for how we understand the role of truth in critical theory today. (shrink)

This essay challenges the prevailing view among critical theorists that laughter’s emancipatory power stems from its ability to speak the truth. The disparate accounts of laughter offered by Plato, Hobbes, and Nietzsche exemplify an alternative strategy for theorizing laughter as a performance of deception, or an experience that mystifies rather than enlightens. While a view of laughter as deceptive may at first appear to reduce laughter’s critical leverage over ideology, I argue that this approach offers a stronger account of its (...) emancipatory power. Speaking the truth does little more than reveal the falsity of ideology, and laughter’s capacity to actually transform society hinges on how it deceives differently – namely, in such a way that prompts the imagination and construction of more democratic institutions and modes of relating. The essay concludes by considering the implications of this argument for how we understand the role of truth in critical theory today. (shrink)

This essay challenges the prevailing view among critical theorists that laughter’s emancipatory power stems from its ability to speak the truth. The disparate accounts of laughter offered by Plato, Hobbes, and Nietzsche exemplify an alternative strategy for theorizing laughter as a performance of deception, or an experience that mystifies rather than enlightens. While a view of laughter as deceptive may at first appear to reduce laughter’s critical leverage over ideology, I argue that this approach offers a stronger account of its (...) emancipatory power. Speaking the truth does little more than reveal the falsity of ideology, and laughter’s capacity to actually transform society hinges on how it deceives differently – namely, in such a way that prompts the imagination and construction of more democratic institutions and modes of relating. The essay concludes by considering the implications of this argument for how we understand the role of truth in critical theory today. (shrink)

Although several writers have noted significant complementary features in the respective projects of Russian philosopher and cultural theorist Mikhail Bakhtin (1895–1975) and the French social thinker Henri Lefebvre (1901–91), to date there has not been a systematic comparison of them. This article seeks to redress this oversight, by exploring some of the more intriguing of these conceptual dovetailings: first, their relationship to the intellectual and cultural legacy of Romanticism; and second, their respective assessments of irony (including Romantic irony), and, more (...) specifically, of the ironic register as a potential vehicle for socio-cultural criticism. Although the positions Bakhtin and Lefebvre stake out vis-à-vis these issues reveal many similarities – such as extensive use of Socrates in the writings of each – there are also significant differences, not least because Lefebvre’s understanding of Romanticism is more fully developed than Bakhtin’s. Accordingly, the central argument advanced here is that Bakhtin’s fairly disparaging account of Romanticism, together with his scattered and often contradictory remarks on irony, can be subjected to re-envisioning and potential enrichment by reference to Lefebvre’s more considered thoughts, especially the latter’s notions of ‘Revolutionary romanticism’ and ‘Marxist irony’. (shrink)

Women have been marginalized in different contexts and situations. Religion, and to be more specific Catholicism, is a tradition that has divided men and women but more importantly women themselves as they represent the dichotomy of good and evil. Michèle Roberts's heroines are inspired through biblical characters who will replace the binary system of being for dualities and pluralities in the same woman as part of their identities. This paper considers the feminist procedure of Adrienne Rich's re-visioning, re-imagining and re-writing, (...) Julia Kristeva's notion of abjection plus a touch of Bakhtinian `open bodies' in the light of Catholic myths. The conclusion of this essay aims to present and celebrate Roberts's heroines in relation to their sexuality and religion. (shrink)

The relationship of Marxist thought to the phenomena of everyday life and utopia, both separately and in terms of their intersection, is a complex and often ambiguous one. In this article, I seek to trace some of the theoretical filiations of a critical Marxist approach to their convergence (as stemming mainly from a Central European tradition), in order to tease out some of the more significant ambivalences and semantic shifts involved in its theorization. This lineage originates in the work of (...) Karl Marx and Friedrich Engels, then stretches to Georg Lukács and the so-called ‘Gnostic Marxism’ of Walter Benjamin (as mediated by the important figure of Georg Simmel), and culminating most recently in the work of Agnes Heller. Such a Marxist theory is inseparable from a political project that seeks to unveil and critique what it takes to be the debased, routinized and ideological qualities of daily existence under the auspices of modern capitalist society, but also attempts to locate certain emancipatory tendencies within this selfsame terrain, an orientation that can be summed up in the phrase ‘everyday utopianism’. Although there are occasional lapses into dualistic modes of thinking in the work of these writers, the key insight they present to us is the need to overcome the pervasive dichotomy between the everyday/immanent and the utopian/transcendental, of a sort that has bedevilled the work of many other theorists and intellectual traditions. (shrink)

One of the key concepts in autonomist Marxism is the ‘general intellect’. As capitalism develops, labour and its products become increasingly ‘immaterial’, inasmuch as the physical side of production is taken over by automated systems. The result is that all aspects of the collective worker's affective, desiring and cognitive capabilities are now brought to bear on production itself. This problematises capitalistic notions of proprietary control, because it raises the possibility that the mass ‘cognitive worker’, and the inherently co-operative principles it (...) embodies, can detach itself from neoliberal mechanisms of subsumption and valorisation and lay the foundation for a new communalistic ethos. What is intriguing is that several autonomists evoke the work of Mikhail Bakhtin vis-à-vis the ‘general intellect’. Bakhtin did maintain that dialogism is an irreducibly collective phenomenon, and that we all contribute to the continuous making and remaking of language. We do not ‘own’ the words we use; as such, meaning is necessarily plural and heterogeneous, the product of the interaction of many texts and voices that can only be pragmatically and contingently unified. The present article seeks to explore the connection between Bakhtin and autonomism, focusing on the insight that communication is always ‘more than myself’, and hence integral to the ‘social brain’ that is a shared legacy, our ‘commonwealth’. It also raises the possibility of a more ‘troublesome’ Bakhtin than is generally countenanced by the liberal academy, and a concomitantly ‘dangerous’ dialogism that haunts a digitalised and networked world marked in equal measure by tremendous emancipatory promise and catastrophic threat. (shrink)

This paper is a historical study of stage hypnotism from the early nineteenth through the early twentieth centuries. The hypnotists' stage performances over this period reveal cultural tensions related to modernization. Public responses to these shows also indicate the shifting dynamics of reform. When mesmerists first toured the U.S. in the early nineteenth century, the hypnotic trance confirmed popular belief in the ultimate perfectibility of the individual and society. By the late nineteenth century, however, hypnotic shows seemed more a model (...) for human enslavement than liberation. Medical experts also began to express concern at the possible health damage hypnotism might inflict. Despite stage hypnotists' efforts to defend their art, hypnotism became increasingly marginalized as the growth of the middle class and of mass culture dictated an increasingly sanitized popular culture. (shrink)

Bourdieu's work on modern cultural production has certain omissions. It fails to raise the possibility that authors such as Salman Rushdie, either writing from peripheral nations or from powerless minorities within a powerful nation, might be called `heroic modernists'. This would differentiate them from the routinized form of late 20th-century modernist avantgardism, which operates within the logic of the laws of the `restricted literary field' and contributes inadvertently to social reproduction rather than transformation. The argument of the article provides grounds (...) for seeing Rushdie as such a `heroic modernist'. The structural location for contemporary `heroic' modernism is linked to the particular position the writer occupies as a stranger or migrant. However, it is proposed that even writing such as Rushdie's, deriving as it does from the political good intentions of the radical, is constrained to establish itself within a highly competitive cultural field. The article asks whether the `double rupture' of the Verses - a rupture both with the bourgeois bestselling novel and with popular forms - is not the main source of those social contradictions on which the writer himself came to be so impaled. Not the least among such contradictions is the imperative for the purpose of literary distinction of the refusal of a traditional realist style, which led the author towards an ironic iconoclasm: a comic grotesque mode of subverting of the sacred. (shrink)