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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.
Despite the fact that William Blake summarises the plot of Visions of the Daughters of Albion (1793) in just eight lines in the prefatory ‘Argument,’ there are several contentious moments in the poem which continue to cause debate. Critics read Oothoon’s call to Theotormon’s eagles and her offer to catch girls of silver and gold as either evidence of her rape-damaged psyche or confirmation of her selfless love which transcends her socio-sexual state. How do we reconcile the attack of Theotormon’s eagles and the wanton play of the girls with Oothoon’s articulate and highly sophisticated expressions of spiritual truth and free love? In William Blake’s Divine Love: Visions of Oothoon, Joshua Schouten de Jel explores the hermeneutical possibilities of Oothoon’s self-annihilation and the epistemological potential of her visual copulation by establishing an artistic and hagiographical heritage which informs the pictorial representation and poetic pronunciation of Oothoon’s enlightened entelechy. Working with Michelangelo’s The Punishment of Tityus (1532) and Gian Lorenzo Bernini’s Ecstasy of Saint Teresa (1647–51), Oothoon’s ecstatic figuration reflects two iconographic traditions which, framed by the linguistic tropes of divine love expressed within a female-centred mystagogy, reveal the soteriological significance of Oothoon’s willing self-sacrifice.
This volume offers a critical overview of digital reading practices and scholarly efforts to analyze and understand reading in the mediatized landscape. Building on research about digital reading, born-digital literature, and digital audiobooks, The Digital Reading Condition explores reading as part of a broader cultural shift encompassing many forms of media and genres. Bringing together research from media and literary studies, digital humanities, scholarship on reading and learning, as well as sensory studies and research on multimodal and multisensory media reception, the authors address and challenge print-biased conceptions of reading that are still prevalent in research, whether the reading medium is print or digital. They argue that the act of reading itself is changing, and rather than rejecting digital media as unsuitable for sustained or focused reading practices, they argue that the complex media landscape challenges us to rethink how to define reading as a mediated practice. Presenting a truly interdisciplinary perspective on digital reading practices, this volume will appeal to scholars and graduate students in communication, media studies, new media and technology, literature, digital humanities, literacy studies, composition, and rhetoric.
Insanity—in clinical practice as in the popular imagination—is seen as a state of believing things that are not true and perceiving things that do not exist. Most schizophrenics, however, do not act as if they mistake their delusions for reality. In a work of uncommon insight and empathy, Louis A. Sass shatters conventional thinking about insanity by juxtaposing the narratives of delusional schizophrenics with the philosophical writings of Ludwig Wittgenstein.
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.
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.
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.