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Bakhtin and Voloshinov argued that dialogue is the intersubjective basis of consciousness, and of the creativity which makes historical changes in consciousness possible. The multiple dialogical relationships give every subject, who has developed through internalising them, the potential to distance him or herself from them. Consciousness is therefore an “unfinalised” process, always open to a possible future which would not merely reiterate the past. But this book explores its corollary: The relative openness is a field of conflict where rival discourses struggle for hegemony, by subordinating or eliminating their rivals. That is how the unconscious is created out of socio-historical conflicts. Hegemony is always incomplete, because there is always the possibility of a return of its repressed rivals in new combinations.
A ground-breaking new examination of the formation of the modern unconscious
Explores and illuminates the impact of the Russian philosopher Mikhail Bakhtin on our understanding of literary modernism. This volume explores the subject of modernism as seen through the lens of Bakhtinian criticism and in doing so offers a rounded and up-to-date example of the application of Bakhtinian theory to a field of research. The contributors consider the global spread of modernism and the variety of its manifestations as well as modernism's relationship to popular culture and its collective elaboration, which are dominant concerns in Bakhtin's thinking. As with other volumes in the Understanding Philosophy, Understanding Modernism series, the volume is divided into three parts. Part 1 provides readings of Bakhtin's work in the context of literary modernism. Part 2 features case studies of modernist art and artists and their relation to Bakhtinian theory. The final part provides a glossary of key terms in Bakhtin's work.
Contemporary research in personality, social psychology and sociology has renewed an interest in the self. This volume argues that the self may consist fo multiple selves, any of which may interact with each other in a dialogical fashion. The self is presented as a non-unitary embodiment that transcends the limits of individualism and rationalism. Beginning with philosophical discussion of the self, this volume discusses the decentralization of the self in narrative psychology, the retreat of the omniscient narrator in literary sciences, the genesis of self-knowledge in children and the concept of modern society as a multiplicity of collective voices.
Aesthetic Thinking: Essays on Intention, Painting, Action, and Ideology anthologises some of Fred Orton’s important contributions to rethinking the social history of art and art practice. More than that, it offers a vivid demonstration of how theory can generate new interpretations and unsettle old ones.
The "Greek Crisis" in Europe: Race, Class and Politics, analyses the publicity of the so-called "Greek crisis" by deploying critical theory and cultural studies perspectives. The study discloses racial and class media biases, and their associations with austerity.
For over three decades, an Ideological Surround Model (ISM) has pursued theoretical and methodological innovations designed to enhance the 'truth' and 'objectivity' of research into psychology and religion. The foundational argument of the ISM is that psychology as well as religion unavoidably operates within the limits of an ideological surround. Methodological theism, therefore, needs to supplement the methodological atheism that dominates the contemporary social sciences. Methodological theism should operationalize the meaningfulness of religious traditions and demonstrate empirically that the influences of ideology cannot be ignored. The ISM more generally suggests that contemporary social scientific rationalities need to be supplemented my more complex dialogical rationalities. Beliefs in secularization should also be supplemented by beliefs in trans-rationality.
The group of intellectuals that surrounded literary theorist Mikhail Bakhtin has come to be known as the Bakhtin Circle and have come to be quite influential in the field of cultural criticism. Brandist (Bakhtin Centre, Sheffield U., UK) examines the sources of their thinking, arguing that they were significantly less innovative in thought than many might suppose. He characterizes the Circle's contribution as an ongoing engagement with several intellectual traditions, attempting to put that engagement into the context of the social and political circumstances surrounding them. Distributed by Stylus Publishing. Annotation copyrighted by Book News, Inc., Portland, OR
Serialized television drama (dianshiju), perhaps the most popular and influential cultural form in China over the past three decades, offers a wide and penetrating look at the tensions and contradictions of the post-revolutionary and pro-market period. Zhong Xueping’s timely new work draws attention to the multiple cultural and historical legacies that coexist and challenge each other within this dominant form of story telling. Although scholars tend to focus their attention on elite cultural trends and avant garde movements in literature and film, Zhong argues for recognizing the complexity of dianshiju’s melodramatic mode and its various subgenres, in effect "refocusing" mainstream Chinese culture. Mainstream Culture Refocused opens with an examination of television as a narrative motif in three contemporary Chinese art-house films. Zhong then turns her attention to dianshiju’s most important subgenres. "Emperor dramas" highlight the link between popular culture’s obsession with emperors and modern Chinese intellectuals’ preoccupation with issues of history and tradition and how they relate to modernity. In her exploration of the "anti-corruption" subgenre, Zhong considers three representative dramas, exploring their diverse plots and emphases. "Youth dramas’" rich array of representations reveal the numerous social, economic, cultural, and ideological issues surrounding the notion of youth and its changing meanings. The chapter on the "family-marriage" subgenre analyzes the ways in which women’s emotions are represented in relation to their desire for "happiness." Song lyrics from music composed for television dramas are considered as "popular poetics." Their sentiments range between nostalgia and uncertainty, mirroring the social contradictions of the reform era. The Epilogue returns to the relationship between intellectuals and the production of mainstream cultural meaning in the context of China’s post-revolutionary social, economic, and cultural transformation. Provocative and insightful, Mainstream Culture Refocused will appeal to scholars and students in studies of modern China generally and of contemporary Chinese media and popular culture specifically.
Martin Flanagan uses Bakhtin's notions of dialogism, chronotope and polyphony to address fundamental questions about film form and reception, focussing particularly on the way cinematic narrative utilises time and space in its very construction.