This article focuses on Stuart Hall’s reading of Louis Althusser’s main theoretical works. Since the early 1970s, Hall has undertaken a critical confrontation with Althusser’s ‘structural Marxism’, rescuing those useful concepts to think cultural difference and identity, without failing to criticize his ‘superstructuralist’ interpretation of Marx. However, what Hall will retain as Althusser’s most important contribution is, above all, his theory of ideology. In this context, I follow an idea formulated by Hall that could be read as summarizing the theoretical (...) and political scope of Althusser’s contribution to Cultural Studies: ‘he enabled me to live in and with difference’. By complicating classical interpretations schemes in the Marxist tradition, Hall’s Althusser may be read as a ‘thinker of difference’ who opens up a whole research program to reconsider class conflicts as traversed (or ‘overdetermined’) by gender, racial or colonial conflicts. (shrink)

This paper seeks to evaluate the extent to which Lotman’s theoretical works could provide a conceptual articulation to the project of British and American cultural studies (CS). Just as CS, Lotman operates with an extensive concept of culture, albeit one mostly limited to nobility culture and focused on the past. His late works can be seen to articulate a semiotic theory of power: his emphasis on the relationship between center and periphery recalls the infatuation with marginality that underpins CS. Lotman (...) shares the (post) structuralist premise about the primary role of discourse in founding reality. Yet his emphasis on the natural striving of culture toward diversity mitigates the subject’s dependence upon discourse. Thus, subjects act on their striving toward autonomy by playing discourses against one another, recoding them in an act of autocommunication that generates novelty in the process. Even though it denies the grand narrative, Cultural Studies emphasizes class, gender, and race differences. Lotman’s concept of the semiosphere emphasizes the ad hoc foundation of group identities, their emergence out of an intrinsic recoding of extrinsic codes, and the circulation of texts and values among groups. Lotman doesn’t privilege any sort of group identity and therefore offers a flexible framework applicable to a broader range of groups. In that sense he offers an alternative to Gramsci’s notion of the rootedness of groups in class realities (which underlies early CS). (shrink)

Despite experiencing an early and protracted neoliberal transformation, France has exhibited an acutely ambiguous stance towards neoliberal practice. This is illustrated by, for example, regular nationwide protests opposed to policies with an overtly neoliberal flavour, or the coexistence of heavy taxation and a profound financialisation of its economy. This article seeks to explain why neoliberalism successfully developed in France, despite such an ambiguity. The focus will be placed on the transformation of labour relations, which will reveal the important role played (...) by both the technocratic elite and firm-level negotiations in legitimating neoliberal practice. It will be argued that while several relevant sociological explanations offer some valuable insights for making sense of neoliberalism’s successful development in France, Antonio Gramsci’s concept of ‘passive revolution’ provides a very fruitful basis upon which to capture the singularity of the French case. (shrink)

The so-called New Music in Europe after the Second World War was based on the idea of progress, similar to technological progress and related to it, and aimed at a complete rationalization of composing. The ideal of music as autopoiesis, which appeared in the 1950s, became inherent to this development. It supposed a kind of communication on music as a reified object, which opposed music making and listening as communication between partners. Separated from the life-world and conceived as a self-referential (...) system, New Music should represent not only the logical achievement of the historical development of European music, but also the superiority of Western musical thought in the more developed countries over the music cultures of the world. Therefore, the integral serialism, which should rule the musical composition, became a form of symbolic power within the musical field, in correspondence with similar forms of domination within the economic, political and technological fields. However, some European composers rejected this trend and tried to find an alternative to aestheticism by means of political engagement. For instance, the Italian composer Luigi Nono explores the dialectic between subject and object, technological development and critique of technology, avant-garde and critique of progress, globalization and anti-imperialistic resistance. In his strategy, in which Gramsci's and Walter Benjamin's thought played an important role, aesthetics became inseparable from politics. His search for identity as a composer transforms the tragedy of listening into an allegory of human condition. (shrink)