Making Trouble | Surrealism and the Human Sciences
Surrealism was not merely an artistic movement to its adherents but an “instrument of knowledge,” an attempt to transform the way we see the world by unleashing the unconscious as a radical, new means of constructing reality. Born out of the crisis of civilization brought about by World War I, it presented a sustained challenge to scientific rationalism as a privileged mode of knowing. In certain ways, surrealism’s critique of white, Western civilization anticipated many later attempts at producing alternate non-Eurocentric epistemologies.
With Making Trouble, sociologist and cultural historian Derek Sayer explores what it might mean to take surrealism’s critique of civilization seriously. Drawing on a remarkable range of sources, Sayer first establishes surrealism as an important intellectual antecedent to the study of the human sciences today. He then makes a compelling and well-written argument for rethinking surrealism as a contemporary methodological resource for all those who still look to the human sciences not only as a way to interpret the world, but also to change it.
The Science of Myths and Vice Versa
We often assume that science and myth stand in opposition—with science providing empirically supported truths that replace the false ideas found in traditional mythologies. But the rhetoric of contemporary popular science and related genres tells a different story about what contemporary readers really want from science.
In The Science of Myths and Vice Versa, Gregory Schrempp offers four provocative vignettes that bring copious amounts of research on both traditional and modern mythologies to bear on the topic of science in contemporary popular culture. Schrempp shows how writers such as Malcolm Gladwell and Michael Pollan successfully fuse science and myth to offer compelling narratives about how we can improve our understanding of ourselves and our world. The most effective science writers, he finds, are those who make use of the themes and motifs of folklore to increase the appeal of their work.
Schrempp’s understanding of science and myth as operating not in opposition but in reciprocal relation offers an essential corrective to contemporary mischaracterizations.
Community of Scholars, Community of Teachers
Academics routinely engage with colleagues in the research community as a critical part of their work. But, although many researchers are also dedicated teachers, teaching tends to be seen as a private matter between a teacher and his or her students. But why shouldn’t faculty members feel a similar impulse to be aware of what their colleagues are doing in the area of teaching? What do we miss when the conversation, especially at major research universities, is focused almost exclusively on research?
In this revised and expanded collection of essays, Judith Shapiro, former president of Barnard College, issues an impassioned clarion call for a renewed focus on the role of community in teaching. When faculty members feel that they are not only a community of scholars, but also a community of teachers, teaching becomes more engaging for both students and teachers. Encouraging high-quality conversation about the pedagogical approaches that have proven most effective also puts the contributions of virtual, online communication into proper perspective and brings into clearer focus the advantages of a liberal arts education. With an argument that is controversial and sure to spark discussion and debate, Community of Scholars, Community of Teachers shows how higher education can become even more of a true community.
2001 and Counting | Kubrick, Nietzsche, and Anthropology
Stanley Kubrick’s 2001: A Space Odyssey is widely recognized as a cult classic. Despite mixed critical reception, the dark and difficult movie mesmerized audiences at the time of its initial screening in 1968 and went on to become one the highest grossing films of the decade.
In 2001 and Counting, renowned anthropologist Bruce Kapferer revisits 2001: A Space Odyssey, making a compelling case for its continued cultural relevance. While the film’s earliest audiences considered it to be a critical examination of European and American realities at the height of the Cold War, Kapferer shows that Kubrick’s masterwork speaks equally well to concerns of the contemporary world, including the Iraq War, the 2008 financial crisis, and the material and political effects of neoliberalism. Kapferer explores Kubrick’s central theme—the ever-changing relationship between humanity and technology—both with regard to current events and through the lens of Nietzsche’s Thus Spoke Zarathustra and the mythical concept of the eternal return.
A thought-provoking exploration of the cultural power of cinema, this volume by one of anthropology’s most insightful and imaginative thinkers will appeal to anthropologists and cineastes alike.
The Great Debate About Art
In this lucid and insightful essay, renowned linguist Roy Harris reflects on the early nineteenth-century doctrine of “art for art’s sake.” This was attacked by Proudhon and Nietzsche, but defended by Théophile Gautier and E. M. Forster. It influenced movements as diverse as futurism and Dada. Over the past two centuries, three main positions have emerged. The “institutional” view declares art to be a status conferred upon certain works by the approval of influential institutions. The “idiocentric” view gives absolute priority to the judgment of the individual. The third is the “conceptual” view of art, which insists that what counts is the idea that inspired a work, not the physical execution. But as Harris shows, the tacit assumptions which once supported this Debate and these positions have now collapsed. “Art” as a coherent category has imploded, leaving behind a historical residue of empty questions that contemporary society can no longer answer. The Great Debate about Art provides much needed signposts for understanding this sorry state of affairs.
Are the Humanities Inconsequent? | Interpreting Marx’s Riddle of the Dog
Adapting the discontinuous and multi-tonal critical procedures of works like Carlyle’s Sartor Resartus and Laura Riding’s Anarchism Is Not Enough, Jerome McGann subjects current literary studies to a patacritical investigation. The investigation centers in the interpretation of a notorious modern riddle: “Outside of a dog, a book is a man’s best friend. Inside of a dog, it’s too dark to read.” Working by indirection and from multiple points of view, the book argues that aesthetics is always a science of exceptions, and that any given critical practice is also always an exception from itself. The book works from two assumptions: first, that the riddle of the dog conceals an allegory about book culture and is addressed to the academic custodians of book culture; and second, that any explanation of the riddle is necessarily implicated in the problem posed by the riddle. It therefore remains to be seen—it is the reader’s part to decide—whether the book is a friend to man or—perhaps like the riddle of the dog—“too dark to read.”
Time and Human Language Now
What can you say after you say that the world—or at least human life on it—looks like it’s nearing its end? How about starting with wonder at the possibility that dialogue and subjectivity—the bases of human language—are possible now? In Time and Human Language Now two lifelong friends share, in the form of a long-distance e-mail correspondence, a conversation about the relation between cosmos and consciousness, and about the possibility of being responsibly open toward the future without either despair or unreasoning hope. The urgency that underlies this dialogue is the conviction that there can only be reason for hope if the members of homo sapiens can learn—soon—how vital and astonishing is the phenomenon of shared human presence through language.
Pasta and Pizza
Pasta and pizza, in all their infinitely delicious and universally appealing varieties, are inextricably connected to Italian identity. These familiar foods not only represent Italy’s culinary traditions, according to anthropologist Franco La Cecla, they have unified the Italian people and spread Italian culture worldwide. Pasta and Pizza tells the story of how cuisine born in the south of Italy during the Arab conquest became a foundation for the creation of a new nation. As La Cecla shows, this process intensified as millions of Italians immigrated to the Americas: it was abroad that pasta and pizza became synonymous with being Italian, and the foods’ popularity grew as the Italian presence expanded in American culture.
More than literature, art, or even language, food serves as a strong cultural rallying point for the Italian people and a way to disseminate Italian traditions worldwide. Available for the first time in English translation, La Cecla’s lively and accessible study will be of interest to a wide range of readers, from social theorists to avid foodies.
Understanding Media | A Popular Philosophy
Why do we understand media the way we do? In their simplest forms, media are means of communication and instruments of human creativity. But on another level, media are powerful technologies that govern how we think and act in the world, and they can even take on a sinister character, with media conglomerates working in opposition to freedom of information. Dominic Boyer grapples with these complexities in Understanding Media, where he questions what our different ways of engaging media actually tell us about media, how we relate to information, and about ourselves.
Understanding Media explores, in a serious yet entertaining way, our common habits of thinking about the presence and significance of media in our lives. Offering analysis of the philosophical and social foundations of contemporary media theory as well as everyday strategies of knowing media, it addresses the advantages and limitations of different ways of understanding media. Finally, Boyer reflects on how we can know media better than we do.
Museum, Inc. | Inside the Global Art World
Has corporate business overtaken the art world? It’s no secret that art and business have always mixed, but their relationship today sparks more questions than ever. Museum, Inc. describes the new art conglomerates from an insider’s perspective, probing how their roots run deep into corporate culture. Paul Werner draws on his nine years at the Guggenheim Museum to reveal that contemporary art museums have not broken radically with the past, as often claimed. Rather, Werner observes, they are the logical outcome of the evolution of cultural institutions rooted in the eighteenth-century Enlightenment, the colonial expansion of the liberal nation-state, and the rhetoric of democracy.
In a witty and argumentative style, Werner critically analyzes today’s art institutions and reframes the public’s accepted view of them, exposing how their apparent success belies the troubling forces operating within them. He ultimately argues that the art museum we know and love may have already run its course. An engaging discourse structured as an informal gallery talk, Museum, Inc. is a thought-provoking and passionate polemic that offers ideas for a new, more democratic museum.
Enemies of Promise | Publishing, Perishing, and the Eclipse of Scholarship
Why should books drive the academic hierarchy? This controversial question posed by Lindsay Waters ignited fierce debate in the academy and its presses, as he warned that the “publish or perish” dictum was breaking down the academic system in the United States. Waters hones his argument in this pamphlet with a new set of questions that challenge the previously unassailable link between publishing and tenure.
As one of the most important and innovative editors in the humanities and social sciences, Waters has long witnessed the self-destruction occurring in the academic world because of the pressure to publish. Drawing upon his years of experience, he reveals how this principle is destroying the quality of educational institutions and the ideals of higher learning. It is time for scholars to rise up, Waters argues, and reclaim the governance of their institutions.
What Happened to Art Criticism?
Art criticism was once passionate, polemical, and judgmental; now critics are more often interested in ambiguity, neutrality, and nuanced description. And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. How is it that even as criticism drifts away from academia, it becomes more academic? How is it that sifting through a countless array of colorful periodicals and catalogs makes criticism seem to slip even further from our grasp? In this pamphlet, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes.
Revolt of the Masscult
We live in an age of “popular culture”—another term, to some, for an organic mess of marketing strategies aimed at giving us the illusion of choice. From Oprah Winfrey’s Book Club to presidential politics, however, distinctions of taste are more accurately understood to be “blunt instruments of antidemocratic elitism.” So argues Chris Lehmann, in a discussion that ranges over the work of Edward Shils, Clement Greenberg, and Jonathan Franzen with equal ease. The resulting pamphlet is an impassioned plea for the rebirth of culture with content.
New Consensus for Old | Cultural Studies from Left to Right
Thomas Frank has been sending wake-up calls to just about everyone within reach over the past decade, in venues from The Village Voice to Harper’s. His takes on labor politics, advertising, the virtues of the Midwest, and how un-cool you really are have won him a wide audience, and in this piece, Frank gives us a reading of cultural studies—viewed by some as an important new perspective in the academy, but by others as an unwieldy theoretical fad.
On Becoming Authentic: An Interview with Jimmie Durham
“The only way I can be Indian now, the only way I can be Cherokee now, is nostalgically. I can tell the stories but anyone can tell any stories now, stories don’t have the weight that we need them to have, they’re not the proper baggage.”