(1988). Approaches, opportunities and priorities in the rhetoric of political inquiry: A critical synthesis. Social Epistemology: Vol. 2, No. 1, pp. 21-42.

When talking about music, particularly classical music, we frequently describe musical events in terms of expectation and fulfilment. I begin by exploring how this expectation is described and located in music theory. To do this I look at twentieth century writers such as Eugene Narmour and Leonard Meyer before moving onto David Huron’s monograph Sweet Anticipation. I then look at the relationship between expectation, detective narratives and music theory using Edward Cone’s detailed attempt to relate the experience of listening to (...) music to detective fiction. Taking Cone’s ideas, I use that to demonstrate the existence of a particular variant of Slavoj Žižek’s “subject supposed to believe”, an absent subject who enables belief to operate. In this case, it is a “subject supposed to expect” who allows us to structure and mediate our enjoyment of music. I identify three specific instances of this figure: in the historical enjoyment of music, in the enjoyment of the composer, and in the enjoyment of the idea that musical structure enacts an abstraction of desire. In each case I show how these function in ways that intersect with further concepts of Lacanian theory as explicated by Žižek, such as the Ego-Ideal and the master signifier. (shrink)

One significant way in which place is represented is through books based on old photographs and postcards. Recontextualised in such books, historical photos can be used to create mesmeric myths about a locality. This paper explores the genre through four works about areas in Sheffield, a city in the north of England. The book for the well to do suburb, Crosspool, constructs a quaint rural past. Two representations of a working class district are perhaps a little more successful in recovering (...) a personally significant past. The history of a local steel firm avoids issues of social conflict and exploitation by adopting a documentary tone. Thegenre trades on the active interest of seeing familiar scenes as they were in the past, but fails to develop interpretative strategies, such as asking about the context of photos’ original creation or reflecting on how they have been reused. (shrink)

This paper addresses the subject of textual creativity by drawing on work done in classical literary theory and criticism, specifically new criticism, structuralism and early poststructuralism. The question of how readers and writers engage creatively with the text is closely related to educational concerns, though they are often thought of as separate disciplines. Modern literary theory in many ways collapses this distinction in its concern for how literariness is achieved and, specifically, how ‘literary quality’ is accomplished in the textual and (...) the social dimension. Taking literary and aesthetic creativity as a point of departure in the reading of five central authors in classical literary criticism, the paper identifies the processes of narrative imagination and emotional identification as central to the role that the textual dimension plays in the creative process of the author/reader—particularly in the way it provides a space for experimentation and self-reflexion through ‘storying’. (shrink)

(1997). So here comes a book that makes everything easy: Towards a theory of intellectual history in the field of intellectual production. Angelaki: Vol. 2, No. 3, pp. 125-146.