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Lawrence Grossberg, one of the most influential figures in cultural studies, assesses the mission of cultural studies as a discipline in the past, present and future
Lawrence Grossberg is one of the leading figures in cultural studies internationally. In Cultural Studies in the Future Tense, he offers a powerful critique of the present state of cultural studies and, more broadly, of the intellectual left, especially in the Anglo-American academy. He develops a vision for the future of cultural studies as conjunctural analysis, a radically contingent and contextual study of the articulations of lived, discursive, and material contexts. Proposing a compelling analysis of the contemporary political problem space as a struggle over modernity, he suggests the possibility of multiple ways of being modern as an analytic and imaginative frame. He elaborates an ontology of the modern as the potentialities of multiple configurations of temporalities and spatialities, differences, territorialities, and powers, and argues that euro-modernity is a specific geohistorical realization of this complex diagram. Challenging the euro-modern fragmentation of the social formation, he discusses the rigorous conceptual and empirical work that cultural studies must do—including rethinking fundamental concepts such as economy, culture, and politics as well as modernity—to reinvent itself as an effective political intellectual project. This book offers a vision of a contemporary cultural studies that embraces complexity, rigorous interdisciplinary practice and experimental collaborations in an effort to better explain the present in the service of the imagination of other futures and the struggles for social transformation.
Marriage globally is undergoing profound change, provoking widespread public comment and concern. Through the close ethnographic examination of case studies drawn from Africa, Asia, Europe and North America, Marriage in Past, Present and Future Tense places new and changing forms of marriage in comparative perspective as a transforming and also transformative social institution. In conditions of widespread socio-political inequality and instability, how are the personal, the familial and the political co-produced? How do marriages encapsulate the ways in which memories of past lives, present experience and imaginaries of the future are articulated? Exploring the ways that marriage draws together and distinguishes history and biography, ritual and law, economy and politics in intimate family life, this volume examines how familial and personal relations, and the ethical judgements they enfold, inform and configure social transformation. Contexts that have been partly shaped through civil wars, cold war and colonialism – as well as other forms of violent socio-political rupture – offer especially apt opportunities for tracing the interplay between marriage and politics. But rather than taking intimate family life and gendered practice as simply responsive to wider socio-political forces, this work explores how marriage may also create social change. Contributors consider the ways in which marital practice traverses the domains of politics, economics and religion, while marking a key site where the work of linking and distinguishing those domains is undertaken.
In Dancing in Spite of Myself, Lawrence Grossberg--well known as a pioneering figure in cultural studies--has collected essays written over the past twenty years that have also established him as one of the leading theorists of popular culture and, specifically, of rock music. Grossberg offers an original and sophisticated view of the growing power of popular culture and its increasing inseparability from contemporary structures of economic and political power and from our everyday lives. In the course of conducting this exploration into the meaning of "popularity," he investigates the nature of fandom, the social effects of rock music and youth culture, and the possibilities for understanding the history of popular texts and practices. Describing what he calls "the postmodernity of everyday life," Grossberg offers important insights into the relation of pop music to issues of postmodernity and inton the growing power of the new cultural conservatism and its relationship to "the popular." Exploring the limits of existing theories of hegemony in cultural studies, Grossberg reveals the ways in which popular culture is being mobilized in the service of economic and political struggles. In articulating his own critical practice, Grossberg surveys and challenges some of the major assumptions of popular culture studies, including notions of domination and resistance, mainstream and marginality, and authenticity and incorporation. Dancing in Spite of Myself provides an introduction to contemporary theories of popular culture and a clear statement of relationships among theories of the nature of rock music, postmodernity, and conservative hegemony.
Why Cultural Studies? is a rallying call for a reinvigoration of the project of cultural studies that provides a critical analysis of its meteoric rise to the academic fore and makes a convincing argument for the pressing need for a renewed investment in, and re-evaluation of, its core ideals. Rodman argues that there are valuable lessons we can learn from cultural studies’ past that have the potential to lead cultural studies to an invigorated and viable future Makes the claim that cultural studies isn’t – and shouldn’t be – solely an academic subject, but open to both academics and non-academics alike Asserts that now more than ever cultural studies has a productive role to play in promoting social justice and building a better world Written by one of the leading figures in the area of cultural studies, and the current Chair of the Association for Cultural Studies
Cultural Science introduces a new way of thinking about culture. Adopting an evolutionary and systems approach, the authors argue that culture is the population-wide source of newness and innovation; it faces the future, not the past. Its chief characteristic is the formation of groups or 'demes' (organised and productive subpopulation; 'demos'). Demes are the means for creating, distributing and growing knowledge. However, such groups are competitive and knowledge-systems are adversarial. Starting from a rereading of Darwinian evolutionary theory, the book utilises multidisciplinary resources: Raymond Williams's 'culture is ordinary' approach; evolutionary science (e.g. Mark Pagel and Herbert Gintis); semiotics (Yuri Lotman); and economic theory (from Schumpeter to McCloskey). Successive chapters argue that: -Culture and knowledge need to be understood from an externalist ('linked brains') perspective, rather than through the lens of individual behaviour; -Demes are created by culture, especially storytelling, which in turn constitutes both politics and economics; -The clash of systems - including demes - is productive of newness, meaningfulness and successful reproduction of culture; -Contemporary urban culture and citizenship can best be explained by investigating how culture is used, and how newness and innovation emerge from unstable and contested boundaries between different meaning systems; -The evolution of culture is a process of technologically enabled 'demic concentration' of knowledge, across overlapping meaning-systems or semiospheres; a process where the number of demes accessible to any individual has increased at an accelerating rate, resulting in new problems of scale and coordination for cultural science to address. The book argues for interdisciplinary 'consilience', linking evolutionary and complexity theory in the natural sciences, economics and anthropology in the social sciences, and cultural, communication and media studies in the humanities and creative arts. It describes what is needed for a new 'modern synthesis' for the cultural sciences. It combines analytical and historical methods, to provide a framework for a general reconceptualisation of the theory of culture – one that is focused not on its political or customary aspects but rather its evolutionary significance as a generator of newness and innovation.
Tense Future falls into two parts. The first develops a critical account of total war discourse and addresses the resistant potential of acts, including acts of writing, before a future that looks barred or predetermined by war. Part two shifts the focus to long interwar narratives that pit both their scale and their formal turbulence against total war's portrait of the social totality, producing both ripostes and alternatives to that portrait in the practice of literary encyclopedism. The book's introduction grounds both parts in the claim that industrialized warfare, particularly the aerial bombing of cities, intensifies an under-examined form of collective traumatization: a pretraumatic syndrome in which the anticipation of future-conditional violence induces psychic wounds. Situating this claim in relation to other scholarship on "critical futurities," Saint-Amour discusses its ramifications for trauma studies, historical narratives generally, and the historiography of the interwar period in particular. The introduction ends with an account of the weak theory of modernism now structuring the field of modernist studies, and of weak theory's special suitability for opposing total war, that strongest of strong theories.
The first comprehensive and statistically significant analysis of the predictive powers of each cross-cultural model, based on nation-level variables from a range of large-scale database sources such as the World Values Survey, the Pew Research Center, the World Bank, the World Health Organization, the UN Statistics Division, UNDP, the UN Office on Drugs and Crime, TIMSS, OECD PISA. Tables with scores for all culture-level dimensions in all major cross-cultural analyses (involving 20 countries or more) that have been published so far in academic journals or books. The book will be an invaluable resource to masters and PhD students taking advanced courses in cross-cultural research and analysis in Management, Psychology, Sociology, Anthropology, and related programs. It will also be a must-have reference for academics studying cross-cultural dimensions and differences across the social and behavioral sciences.
First published in 1990. Routledge is an imprint of Taylor & Francis, an informa company.