Since his death in 1986, Michel de Certeau's reputation as a thinker has steadily grown both in France and throughout the English-speaking world. His work is extraordinarily innovative and wide-ranging, cutting across issues in historiography, literary and cultural studies, anthropology, sociology, theology, philosophy and psychoanalysis. This book represents the first full-length study of Certeau's thought. It is organized around the central theme of interpretation and alterity, which Ahearne uses to illuminate Certeau's work as a whole. The author also examines Certeau's (...) theory and practice of historiography; his reflection on the relations between changing historical forms of writing, reading and orality; and his distinction between the "strategic" programmes of the politically powerful and the "tactics" of the relatively powerless. Ahearne places Certeau's work in its general intellectual context, relating it to the views of important contemporary thinkers, such as Pierre Bourdieu and Michel Foucault, and demonstrating the decisive importance to Certeau's thought of the writings of the early modern mystics and travellers. This book constitutes an excellent critical introduction to Certeau's work, while also providing a comprehensive and nuanced reading for those already familiar with his thought. (shrink)

This is the first book in any language to deal comprehensively with the work of Michel de Certeau, the author of one of the most important, influential, and diverse bodies of scholarship and cultural theory to emerge from Europe during the exciting decades after the late Sixties. It is designed as a guide to draw out, not only the exceptional range, but the overall coherence of his approach. The author focuses on Certeau's major writings: on contemporary French historiography, the writings (...) of early modern mystics and travellers, on Michel Foucault and Pierre Bourdieu, Freud, the linguistics of 'utterance,' and a broad spectrum of work on contemporary cultural practices. In the process, the author seeks to draw out a set of themes that are distinctive to Certeau either in their form or their treatment: the history of early modern and modern 'economies' of writing, reading, and speech; the gap between representation and practice; the relation between 'strategic' social and intellectual programmes and 'tactical' political or poetic activity; the question of religious belief and desire; psycho-analysis and socio-analysis; and the development of what might be called an ethics/aesthetics. (shrink)

This book examines Bourdieu's theory of the literary field.

A rarely examined internal reading by Bourdieu at the end of The Rules of Art of William Faulkner's short story ‘A Rose for Emily’ provides the starting point for a reflection on Bourdieu's theories of reading and reflexivity. The article begins by looking at Bourdieu's theory of literary reception, and its identification of two distinct modalities of reading, ‘scholastic’ and ‘naive’. It then places Bourdieu's discussion of ‘A Rose for Emily’ as a ‘reflexive’ text in the context of his wider (...) theory of reflexivity. Bourdieu's approach to reading Faulkner's text is compared with those deployed elsewhere by more established literary critics, notably Jean-Paul Sartre and Roland Barthes. Finally, the question of how his internal reading fits within the logic of a theoretical work devoted to the ‘reflexive’ practice and method of field analysis is discussed. (shrink)

Literary pedagogy occupied a privileged place in Bourdieu's early work on education insofar as he saw it as exemplifying in unconscious mode socially segregational dynamics. Bourdieu's expressly ‘reductionist’ critique was uncannily mirrored, however, by the spread of more economically instrumental approaches to education. Bourdieu's engagement with these led him to develop a fuller apprehension of literature. Yet while the conceptual apparatus he developed can allow the genesis of a literary work in its socio-historical complexity to be grasped more fully, its (...) framing poses significant problems of its own. In particular, its ‘hypercontextualizing’ injunctions risk stifling ordinary reading practices and the practical pedagogy of canon-formation. Bourdieu's actual practice with literary materials is not bound by these injunctions. His transepochal ‘collaboration’ with Blaise Pascal, for example, takes place through the insinuation of decontextualised shards of thought into his own writing. The teachings of literature exceed in various ways their scientific framing. (shrink)

As Kenneth Pimple points out, scientists’ responsibilities to the larger society have received less attention than ethical issues internal to the practice of science. Yet scientists and specialists who study science have begun to provide analyses of the foundations and scope of scientsts’ responsibilities to society. An account of contributions from Kristen Shrader-Frechette, Melanie Leitner, Ullica Segerstråle, John Ahearne, Helen Longino, and Carl Cranor offers work on scientists’ social responsibilities upon which to build.

French philosopher Michel de Certeau wrote about seventeenth-century mysticism, religion and pluralism, architecture, everyday life, and the history of anthropology. But because critics of his works have tended to fragment it into hermetic compartments, dealing only with what is relevant to their own fields, the expansiveness of his ouevre has suffered damaging distortions in the secondary literature. This special issue of _South Atlantic Quarterly_ provides the first comprehensive view of his complete work, with contributors evaluating his weaknesses as well as (...) his strengths. With articles that engage directly—as well as theoretically—with de Certeau, this collection corrects a long-standing imbalance in the criticism by covering works from two periods about which little is known in anglophone circles: his early books on religious history and his midlife histories of mysticism and possession. It also includes critiques from queer theory and feminist theory, as well as comparative readings that assess de Certeau alongside his famous contemporary, Michel Foucault. With articles by an international array of scholars who address both the secular and the religious thinker, this special issue is the most definitive study to date of this important twentieth-century thinker. _Contributors. _Jeremy Ahearne, Frederick C. Bauerschmidt, Ian Buchanan, Philippe Carrard, Claire Colebrook, Tom Conley, Verena Andermatt Conley, Catherine Driscoll, Carla Freccero, John Frow, Richard Terdiman, Timothy Tomasik, Marie-Claire Vallois, Graham Ward. (shrink)

Arts-Based Thought Experiments is a highly visual offering that engages visual arts, photography, poetry, creative non-fiction, memoir and speculative fiction. In this novel book, the authors lean deeply into concepts of the imaginary, and through artful experiments with thought, trouble the tensions between the human, the posthuman and the more than human. In the Anthropocene, with its intractable challenges and cataclysms, engaging posthuman positions when thinking of learning in socioecological terms is paramount to human survival. In this sense, the arts (...) offer creative and critical thought for the possibilities of a post-Anthropocene earth. Contributors are: Raoul Adam, Marilyn Ahearn, William Boyd, Euan Boyd, Adrienne Brown, Shae L. Brown, Teresa Carapeto, Philemon Chigeza, Amy Cutter-Mackenzie-Knowles, David Ellis, Katie Hotko, Marianne Logan, Ferdousi Khatun, Alexandra Lasczik, Yaw Ofosu-Asare, Maia Osborn, Marie-Laurence Paquette, Jemma Peisker, Ziah Peisker, Adrienne Piscopo, David Rousell, Benjamin Ryan, Billy Ryan, Lisa Siegal, Helen Widdop Quinton, Thilinika Wijesinghe and Tracy Young. (shrink)

Why are people and institutions more inclined to tolerate a street art piece rather than a graffiti tag? Even if legally authorized, graffiti still largely epitomizes a symptom of urban decay, while municipalities hire street artists to rehabilitate poor neighbourhoods with their stunning artworks. Starting from this assumption, the aim of this article is to understand the political roots of such negative attitude towards graffiti in the western imaginary. In doing so the article addresses graffiti as an epistemological object. First, (...) by following Jean Baudrillard, who looks at graffiti as a counter-colonial phenomenon rather than a form of self-expression, the article explores and debunks the most common epistemological attitudes towards graffiti. Second, through an accurate historical and political analysis of New York’s welfare and city planning policy, it is shown how graffiti became a pivotal topic in the politics of demonization and exclusion of the ethnical minorities during the Reagan presidency. Drawing from Craig Watkins’ notion of ‘ghettocentric imagination’ – a racial discourse produced by emphasizing images of inner-city villainy within American film production – the ideological use of graffiti aesthetics in visual communication is termed ‘toxicscape’. By displaying ‘toxicscapes’, American narrative cinema uses graffiti as fetishist visual objects that drive the audience in perceiving graffiti (and events or characters related to them) as ‘toxic objects’. Therefore, in the second part of the article, a reconstruction of the American conservative discourse involving graffiti is proposed. The text analyses toxicscapes by focusing on action-crime films of the 1970s and 1980s, such as Death Wish (Winner, 1974), Fort Apache, The Bronx (Petrie, 1981), Escape from New York (Carpenter, 1981), Colors (Hopper, 1988) and Batman (Burton, 1989). Finally, hip-hop visual narratives like Wild Style (Ahearn, 1983), Bomb the System (Lough, 2002), The Graffiti Artist (Bolton, 2004) and The Get Down (2016) are addressed as an alternative to the toxicscape for their employment of graffiti in a more progressive and dramaturgical sense. In conclusion, graffiti appear to be challenging ideological and epistemological objects. Therefore, a more accurate analysis of the graffiti discourse that stemmed in the 1970s and 1980s would provide a more critical and sophisticated perspective to the understanding of contemporary ‘street art’s’ political and cultural investment. (shrink)