Baudrillard's remarkably prescient meditation on terrorism throws light on post-9/11 delusional fears and political simulations. Published one year after Forget Foucault, In the Shadow of the Silent Majorities may be the most important sociopolitical manifesto of the twentieth century: it calls for nothing less than the end of both sociology and politics. Disenfranchised revolutionaries hoped to reach the masses directly through spectacular actions, but their message merely played into the hands of the media and the state. In a media society (...) meaning has no meaning anymore; communication merely communicates itself. Jean Baudrillard uses this last outburst of ideological terrorism in Europe to showcase the end of the "Social." Once invoked by Marx as the motor of history, the masses no longer have sociological reality. In the electronic media society, all the masses can do—and all they will do—is enjoy the spectacle. In the Shadow of the Silent Majorities takes to its ultimate conclusion the "end of ideologies" experienced in Europe after the Soviet invasion of Hungary and the death of revolutionary illusions after May 1968. Ideological terrorism doesn't represent anything anymore, writes Baudrillard, not even itself. It is just the last hysterical reaction to discredited political illusions. (shrink)

Le present volume rassemble plusieurs etudes qu' Alfred Schutz avait consacrees a diverses questions qui gravitent autour d'un probleme philosophique majeur: celui de la socialite. La plupart de ces etudes ont Me publiees ailleurs, mais elles etaient dispersees et d'un acces parfois difficile. Tel quel, l'ouvrage que nous presentons n' est que la premiere partie d'un ensemble dans lequell'auteur se proposait de faire reunir par son disciple et ami Maurice Natanson les nombreux essais qu'il avait ecrits depuis son arrivee aux (...) Etats-Unis au debut de la demiere guerre. La mort l'empecha de voir realiser ce projet. 11 nous a semble que la pUblication successive de cet ensemble, dans la fidelite aux indications laissees par l'auteur, etait Ie plus bel hommage que nous pussions rendre a ce penseur qui fut notre ami et meritait sans nul doute de tenir dans Ie courant phenomenologique une place de premier plan que faillirent lui refuser les circonstances dramatiques de sa vie, jointes a sa trop grande modestie per­ sonnelle. II me faudrait ici parler de l'homme, evoquer sa finesse d'esprit, son ironie penetrante, sa serenite et son courage dans l' exil, l' event ail tres vaste de ses preoccupations, Ie don de jeu­ nesse et de sympathie grftce auquel il entreprit a quarante ans d'assimiler avec bonheur une culture nouvelle, pour y exceller bientOt. (shrink)

Like the latter, it unites into one and the same function the possibility of giving things a sign, of representing one thing by another, and the possibility of causing a sign to shift in relation to what it designates. The four functions that define the ...

Georg Lukács wrote The Theory of the Novel in 1914-1915, a period that also saw the conception of Rosa Luxemburg's Spartacus Letters, Lenin's Imperialism: The Highest Stage of Capitalism, Spengler's Decline of the West, and Ernst Bloch's Spirit of Utopia. Like many of Lukács's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and Husserl.The (...) Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukács's last great work before he turned to Marxism-Leninism. (shrink)

There is a time of day immediately before dusk when the outline of every object becomes sharply delineated. It was just that moment. The lacerated edges of wooden beams in the wreckage, the freshness of the rents in the shredded trees, and the curled zinc sheets with their puddles of rain water - everything appeared almost unpleasantly vivid. In the extreme west only a horizontal line of scarlet was to be seen in the sky between two or three towering black (...) burned-out buildings. Flecks of scarlet were also visible through the windows of the ruined structures. It was as if someone had turned on a red light in a deserted and uninhabited house. (Yukio Mishima, The Temple of Dawn). (shrink)

French theorist Jean Baudrillard is one of the foremost contemporary critics of society and culture who is often seen as the guru of French postmodern theory. A prolific author who has written over twenty books, reflections on art and aesthetics are an important, if not central, aspect of his work. Although his writings exhibit many twists, turns, and surprising developments as he moved from synthesizing Marxism and semiotics to a prototypical postmodern theory, interest in art remains a constant of his (...) theoretical investigations and literary experiments. (shrink)

Originally published in 1979. Adultery is a dominant feature in chivalric literature; it becomes a major concern in Shakespeare's last plays; and it forms the central plot of novels from Anna Karenina to Couples. Tony Tanner proposes that transgressions of the marriage contract take on a special significance in the "bourgeois novels" of the eighteenth and nineteenth centuries. His interpretation begins with the general topic of adultery in literature and then zeroes in on three works—Rousseau's La Nouvelle Héloïse, Goethe's Die (...) Wahlverwandtschaften, and Flaubert's Madame Bovary. His interpretation encompasses the role of women, the structure of the family, social mores, and the history of sexuality. (shrink)

Since they are modern characters, living in an age of transition more urgently hysterical at any rate than the age which preceded it, I have drawn my people as split and vacillating, a mixture of the old and the new. and I think it not improbable that modern ideas may, through the media of newspapers and conversation, have seeped down into the social stratum which exists below stairs. My souls are agglomerations of past and present cultures, scraps from books and (...) newspapers, fragments of humanity, torn shreds of once-fine clothing that has become rags, in just the way that a human soul is patched together. (shrink)

Accounts of normal appearances in Goffman's Stigma and Garfinkel's "Passing and the Managed Achievement of Sex Status in an Intersexed Person" are compared. It is found that in these two classic interactionist texts the formulation of stigma requires the production of normal appearances that occlude interactants' selves. In effect, selves are stigmatized. The essay reads Goffman and Garfinkel in terms of each other, and in certain emergent paradoxes rediscovers the missing (stigmatized) selves.

The existentialism of Jean-Paul Sartre is critiqued from the point of view of Goffmanian sociology of everyday life. Despite many parallels between the two positions, the philosophical viewpoint should not be taken as necessarily more sophisticated than the sociological. Meaning, self, and institutional order are interactional achievements, and thus studies in conversational analysis and ethnomethodology become the basis for a critique of epistemology.

Although little noticed by practicing theorists, narrative voice influences theoretical work. This essay presents a demonstration of voice as method, concentrating on brief segments of works by Garfinkel and Goffman. We attend to two methodological themes: how theorists use voice to establish intellectual autonomy, and how the use of voice influences credibility with readers. Garfinkel maximizes his autonomy by using narrative techniques that isolate him from his readers, and produce little common context with them as a result. Goffman maintains a (...) context for credibility with his readers by using a personal voice, but he uses this voice to request their indulgence as he follows his autonomous muse. Goffman's narrative self-indulgence prevents him from fashioning a coherent theoretical program for his readers, something Garfinkel's distant voice enables him to achieve. (shrink)