El presente trabajo tiene como marco de análisis general a la teoría chomskyana conocida como ‘Principios y Parámetros’. En particular, se estudia una parcela de esta, la denominada ‘Ligamiento’. En primer lugar, se hace una presentación de los aspectos generales de la teoría, atendiendo particularmente al enfoque internalista que esta adopta, y de acuerdo con el cual se buscan caracterizar los aspectos mentales y constitutivos de la Facultad del Lenguaje. Para ello, se pone especial atención a las afirmaciones del autor, (...) por lo que la presentación tiene un fuerte carácter textual. Dicha presentación posibilita identificar la estrategia que se persigue a los fines de dar cuenta del fenómeno del lenguaje y, por tanto, a la relación que se establece entre el explanandum y el explanans. A fin de encuadrar el objetivo explicativo de la teoría, se recurre a la propuesta de niveles de explicación de Marr. Posteriormente, se enmarcan los límites de la parcela Ligamiento, tras lo cual se ofrece una reconstrucción formal, la que se elabora desde la perspectiva de la Metateoría Estructuralista. Para ello, se hace una previa y detenida presentación de los datos lingüísticos, los que a modo de ejemplos paradigmáticos ilustran el tipo de fenómeno del lenguaje al que Ligamiento se aplica. Con ello se llega a una caracterización informal de las afirmaciones de Ligamiento. Finalmente, se ofrece la reconstrucción formal. (shrink)

Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art, exploring the writings of Elizabeth Siddall, Mary Cassatt and Berthe Morisot.

In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present (...) gender demarcations? (shrink)

Generations and Geographies brings together a collection of artists, critics and researchers to consider the question of sexual difference and its significance in the production and reception of visual representation by women artists.

In 2018, the Bauman Institute and the Centre for Cultural Analysis, Theory & History, both based at the University of Leeds, initiated a transdisciplinary programme to assess the legacies of Zygmunt Bauman, whose prolific writings we felt to be profoundly relevant to the multiple challenges of the 21st century. In this special issue of Thesis Eleven, we are marking just over three years since the death of Zygmunt Bauman by bringing together some of the contributions to that programme in order (...) to revisit, elaborate, and crucially to extend his intellectual archive. Taking Bauman’s revision of contemporary social realities as a point of departure, each of the participants in this special issue re-examine – critically but also generously – the many questions Bauman asked, tried to answer, and imbued on the way with new and sometimes shocking insights. This paper surveys those contributions by way of introducing the special issue. (shrink)

Este artículo se interroga sobre el alcance y consistencia de la “teoría estándar de los mundos posibles” en el pensamiento de Leibniz. La tesis defendida es que el actualismo subyace en el corpus leibniziano como un fondo de tensión que impide clausurar la metafísica leibniziana de los MP a partir de una sola interpretación sobre el origen de las cosas. Para ello, se ofrece una periodización en tres etapas de las explicaciones de Leibniz al respecto: 1. un modelo actualista puro; (...) 2. un modelo emanantista y otro creacionista, ambos coexistentes e interpretables tanto en términos posibilistas como actualistas; 3. un modelo actualista de “voluntad resultante”. Nuestro objetivo no es tomar partido por uno u otro modelo, sino mostrar que todos ellos conviven en la literatura leibniziana como elementos que dislocan dentro de una única y relativamente cerrada interpretación. (shrink)

This article deals with the problem of justification of war in the light of Leibnizian natural right and deontic definitions. From an analysis of the principles of rationality on which, according to Leibniz, the justification of an act is based, it proposes “deontic types of war” - namely: justifiable wars (whether just or facultative), just wars (defensive war, war of cooperation), facultative wars (preventive war, humanitarian intervention), unjust wars (war of aggression, war of extermination, terrorism) -, which express the modality (...) according to which their agents are constrained to act, namely: authorized, necessarily justified, contingently justified or unjustified to the military action. This modalisation is illustrated by a “war casuistry”, mostly taken from Leibniz’s reflections on the wars of his time. As it will be seen, our hypothesis states that the sufficient reason for a war is at bottom identified with the principle of the best, whose application requires an examination of the consequences of action in different possible scenarios. (shrink)

Bracha Ettinger (formerly known as Bracha Lichtenberg Ettinger) is an Israeli-born Paris-based artist, analyst and feminist theorist who has produced over the last decade a major theoretical intervention through a tripartite practice. This article offers an expository introduction and overview of core aspects of her theoretical contribution while relating it to major trends in feminist and general cultural theory of subjectivity, hysteria, memory, trauma and the aesthetic. Organized in several parts, each section addresses the developing vocabulary, terminology and significance of (...) her work. With core concepts are Matrix, metramorphosis, trans-subjectivity, co-poïesis, co-emergence and co-affection, Ettinger’s theory opens out beyond the blind spots of advanced feminist thought. From its independent and original theorization of subjectivity-as-encounter and an-other sexual difference, Bracha Ettinger challenges our attempts to think about femininity associated with the work of Julia Kristeva and Luce Irigaray. Linked to, but distinct from, the philosophical speculations of Deleuze and Levinas, this work creates a transferential theoretical space for Jewish and feminine difference, sexuality, subjectivity and the traumatic residues of modern catastrophe that has major repercussions for cultural, aesthetic, ethical, political and psychoanalytic theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Noble Impermanence of WaystationsMiriam Rowntree (bio)In the Austin-Bergstrom International Airport (ABIA), adjacent to Gate 14, a screen announces that boarding to Equestria is on time. The description below this announcement includes transport “through a portal to a parallel dimension” and a “harmonious sparkly” atmosphere. An attractive destination. Esquestria’s capital, Canterlot, offers castles, dragons, and, of course, ponies. As the heart of the My Little Pony universe, Canterlot (...) boasts a fantastical utopia. Gate ∞, as it is called (because its erstwhile home, Gate 13, is an unlucky number), imaginatively whisks weary travelers away to other fantastical destinations. Using a commonplace ticket machine or kiosk, travelers answer a series of whimsical questions and receive a ticket to a utopian destination that the machine has personally matched to the traveler for their mythical utopia. Doesn’t everyone want to go to lands of unicorns, ponies, or other such magic?The installation titled “Interimaginary Departures” draws upon 120 destinations drawn from various media, literature, and games, including Harry Potter, The Chronicles of Narnia, and The Wizard of Oz.1 Even the carpet is inspired by the rabbits of Watership Down. Artist Janet Zweig describes her art [End Page 570] installation as designed to “create generative situations in public settings” and Gate ∞ does invite possibility as it is situated in a portal askew to the portals of the real in the terminal. Gate ∞ boldly crosses a border wall at 7 degrees (fig. 1, p. 572), heightening the boundaries between the real and the unreal. The chairs, a trashcan, and a book are caught between worlds, a wall slicing through them. Although Zweig cites China Mieville’s The City and the City (2009) as inspiration for her art installation, for me, the juxtaposition of the “interimaginary” and the real calls to mind Olga Tokarczuk’s book Flights (2007).2 While Zweig’s kiosk personally recommends Equestria (fig. 2, p. 573), ABIA is itself merely a waystation on my own trip between Texas and Rome.Tom McAllister’s review of Flights in the Washington Post describes the book as “beautifully fragmented,” not unlike Zweig’s “Interimaginary Departures” which relies on structural fragmentation of a space to exemplify the interposition of the imaginary and the real.3 This book captivated me from the first strange narrative when I tried to read it several years ago. However, I found it difficult to finish the first time as the stories in each section (there are no chapters) moved rapidly from one place, person, idea, and time to the next. McAllister says that “the disconnectedness is part of the point; they are fragments of people’s lives, a patchwork of personal experience, secondhand observation and imagination. Each story appears, draws our attention and then fades as the narrator finds her way to a new hotel, a new airport.” Perhaps the disconnectedness is the point, but I have found that Tokarczuk also infuses the sections with a sense that “there exists in the world’s coordinate system a perfect point where time and space reach an agreement” (4). Like Zweig’s “Interimaginary Departures,” that agreement is found in movement and the waystations toward that right time and place.Destination: RomeI settle into my seat next to my two daughters. Our flight will land in Rome at 8:00 am tomorrow. I have prepared them for what this means for our bodies. Jet lag is no joke. We shuffle our things around, air pods in the seat pocket in front of us, our bags tucked into the overhead bins. I take out my book and open it to the first page as my girls turn on the tv screens nestled in the seat in front of them. “Here I am” it says in bold letters at the top of the first page of Tokarczuk’s book. The narrator announces their presence (here) with the imperative of existence (I am). I take out my pen as is my habit, but it falls to the side as I read the first [End Page 571] Click for larger view View full resolutionFigure 1.A view from the Interimaginary Departures exhibit at Gate 13, or Gate Infinity, in Austin-Bergstrom International... (shrink)

This extended introductory article sets the scene for consideration of liquid modernity and Bauman’s recent work in general. His ideas are placed against Pollock’s concept of the ‘trans-disciplinary’. The ramifications of Bauman’s work for cultural analysis are discussed, particularly his ideas about migration, tourism, borders and the impact of global social trends on citizenship and agency. One central theme is deterritorialization - both in terms of academic disciplines and the shift from solid, defined, localized, territorialized, nation-bound modernity to the liquid (...) modern. (shrink)

This paper proposes a conversation between Charlotte Salomon and Edvard Munch that is premised on a reading of Charlotte Salomon’s monumental project of 784 paintings forming a single work Leben? oder Theater? as itself a reading of potentialities for painting, as a staging of subjectivity in the work of Edvard Munch, notably in his assembling paintings to form the Frieze of Life. Drawing on both Mieke Bal’s critical concept of “preposterous history” and my own project of “the virtual feminist museum” (...) as a framework for tracing resonances that are never influences or descent in conventional art historical terms, this paper traces creative links between the serial paintings of these two artists across the shared thematic of loneliness and psychological extremity mediated by the legacy of Friedrich Nietzsche. (shrink)

This article takes as its provocation Marx's intriguing statement about the disjunction between the flowering of Greek art and the underdeveloped stage of social and economic development made as an epilogue to the Introduction to the Grundrisse in order to ask what are the relations between that which has been considered art and what Marx calls `production as such'. In the elaborated conditions of contemporary capitalist societies, we can ask: Is art still being made? To examine this question I juxtapose (...) what Bauman has called `thinking sociologically' with a proposition that art thinks aesthetically. So how can art historians deal with that challenge of thinking aesthetic practices both socially and historically? I track a genealogy of art historians (Clark, Antal, Shapiro) who have attempted to think socially about artistic practices. This leads into a section about the necessity for both sociological and aesthetic education if we are to avoid totalitarianism or free-market individualism (Bahro). Finally, thinking sociologically, by taking as a case study the work of Aby Warburg, I explore the technological conditions of art historical production itself particularly in relation to photography and the way this shapes our access to the image. Warburg represents the possibility of another model for art historical thinking about the image as Kulturwissenschaft, a parallel to Sozialwissenschaft in its ambition and relation to the great intellectual revolutions c.1905 (Freud, Bergson, Einstein, Hussserl). Like Marx, Warburg questioned the continuity of the imaginary space of art thinking in the age of technological industrialism. Where art is now, where art history is, are not just sociological questions to which Marx might offer a dismal answer. I conclude that what is necessary is a constructive conversation between thinking sociologically and thinking aesthetically, knowing synthetically and knowing for oneself — curricular issues made more intense by the shared conditions in which all intellectual production is being transformed in contemporary sites of intellectual practice, the university, by `production as such' leading thought to risk the same fate as art in contemporary society, as Marx hypothesized. As a final thought, I suggest that in contemporary art work that confronts trauma and catastrophe, often using new technologies as aesthetic processes, we may find a counter-argument. (shrink)

This paper explores the changing feminine subject of feminism by investigating women's sexual daydreams. Described by Rosi Braidotti following Luce Irigaray as the ‘virtual feminine’, and by Teresa de Lauretis as the ‘space-off, the feminist subject is a mutating configuration embodying that which is not colonised from phallogocentric representations. Following Frigga Haug's work on daydreams, the paper is informed by a study that draws on responses from nineteen women in a university setting to an anonymous online survey that asked them (...) to write a daydream about how they would like to express their sexualities in an ideal world. The data reveal that these women of the new millennium imagine spaces of gender/sexual equity, characterised by a spirit of sexual adventure and ethical and emotionally intimate sex. I argue that these sexual imaginings are more progressive than earlier ones, filling in some of the details omitted from contemporary hegemonic representations of feminine sexuality. Arguably providing a snapshot of the feminist subject in its ongoing historical metamorphosis, the paper considers the meaning of these transformations. (shrink)

The statement that an important dualism runs throughout sociological literature belongs to what can be called extended “sociological common sense”. In this context, Alfred Schutz’s phenomenology is often used critically as a paradigmatic example of subjectivism, as it supposedly places exclusive emphasis on actors’ “subjective” interpretations, thereby neglecting “objective” social structures such as power relationships. This article proposes that not only do those characterizations have dualistic grounds, but they also disregard the explicit intention of phenomenology to overcome the dualism between (...) subjectivism and objectivism. The various criticisms directed at the Schutzian paradigm will be confronted with an analysis of the phenomenon of power based on Schutz’s theory of the life-world, in particular his theory of relevance. This theoretical perspective will be replenished by reflections on power as a meaning selection, which specifically allow the hiatus of subjectivism and objectivism to be overcome. (shrink)

Feminism has been a major force in the reshaping of recent art. The women's movement has given new confidence to women who work in the visual arts; it has opened up new areas for art to deal with and challenged existing systems of values and imagery in the arts. In their comprehensive introduction, Rozsika Parker and Griselda Pollock provide a richly illustrated history of the British women's art movement, covering the major events and debates in feminist art practice which (...) have taken place over the last fifteen years. They also examine the trends, the conflicts and the new directions of the 1980s in which issues of race, as well as gender, have necessarily become prominent. Griselda Pollock goes on to explore the place of feminist art in the context of post-modern culture, arguing that feminism is one of the most important and radical interventions in both modernism and post-modernism. --back cover. (shrink)

From its very beginning, sociological thought has been concerned with a topic central to our daily lives: social distance. Since inception, the concept of social distance has referred to the relationships of familiarity and strangeness between social groups, which is experienced in the social world in terms of “We” and “They”. This article covers the main tenets of a Schutzian phenomenological approach to the study of social distance and group relationships. Specific focus is placed on the different attitudes and valuations (...) of the in-group towards the out-group considered as a stranger, the invisible excess of meaning that emerges in these types of social relationships and the conceptual construction of the Other that explains the phenomenon of discrimination. (shrink)

Is Perception a form of judgment? The importance of this question is that it brings to the fore a crucial issue for modern perceptionempiricism. If perception is not a form ofjudgment, it is possible o t maintain, though still with considerable difficulty, that the senses acquaint us directly with the physical world and that a metaphysical account of reality can be excluded without undermining what the ordinary layman and the scientist alike claim to know. Judgment can then be discussed from (...) the linguistic standpoint without raising any serious ontological questions. If, on the other hand, perception is judgment, or if in perceiving we inevitably go beyond that which is presented to the senses, then metaphysics is unavoidable unless we are prepared to abandon the hope of knowing anything at all. (shrink)

Leading scholars offer new readings of Degas1 representations of the family, prostitution, city life and leisure in which looking at women is shown to be a complex and ambiguous process. One major topic of the book is the encounter between feminism and art history. Having put images of women1 on the agenda of cultural analysis, feminist interventions in the theory and analysis of representation have created a diverse and intricate field of interpretation which now supersedes that formulation. These essays challenge (...) art history to confront issues of spectatorship, the interface of class and gender, identification and the politics of vision. This illustrated collection is thus a major contribution to debates on representation and sexuality. (shrink)

For a few decades, the debate about the dominant economic theory has focused on the epistemological problems caused by the use of objective categories or “intellectual abstractions,” which involved “oblivion,” or disconnection of social actors understood as concrete persons. In Husserlian terms, this genuine “crisis of the sciences” meant the loss of the life-world as the substratum and foundation of all scientific knowledge. In the context of these discussions, the phenomenological sociology of Alfred Schutz has much to say on the (...) issue. Our article will assert that the postulate of adequacy and its inseparable pair, the postulate of subjective interpretation, have important methodological implications for economic research. (shrink)

The paper aims to analyze the potentiality of Schutzian phenomenology to account for the problem of social order. Firstly, we expose the existence of an interpretive scheme of Parsonian roots in contemporary social theory that introduces the dualistic dilemma subjective action versus social order in the analysis of Schutz’s perspective. According to this interpretive scheme, Schutz fails to master the problem of social order. Secondly, and in clear opposition to those interpretations, we show three main contributions which have put forward (...) the argument that it is possible to find in Schutz’s work a theory of social order: Harold Garfinkel’s early writings, the recent Austrian School of Economics’ reception of Schutz and the present-day interpretation in German sociology. In the context of these discussions, our reflections have explored the pragmatic dimension of the order of the life-world based on a phenomenonological constitutive analysis which provides a basis for a comprehensive theory of social order of Schutzian roots. (shrink)

At the beginning of the 1940s in the United States, an exchange of correspondence took place between two of the great thinkers in Sociology, Alfred Schutz and Talcott Parsons. This correspondence dealt with matters which many deemed to be “the greatest central problems in the social sciences.” The reading of these letters leads one to assume that the focus of both authors was on answering how sociology could be appropriately based on the revision of Max Weber’s classical contribution. However, this (...) interpretation has served as the basis to affirm that Schutz and Parsons revisited Weber’s project from opposing sides by detaching the elements from its main corpus. This leads to not only opposite but antithetical points of view. From this perspective, Schutz is labeled as a subjectivist whereas Parsons is labeled as an objectivist. Strikingly, even Schutz himself dismisses the idea of presenting both authors as antagonists. What’s more, he underlines his purpose as that of complementarity. Here arises an obvious question. If Schutz from the very beginning underlined the idea of complementarity, why then does contemporary sociological theory present Schutz and Parsons’ contributions as antithetical? Taking this question as the starting point, our enquiry allows us to expose the existence of an interpretive scheme in Sociological Th eory that introduces the dualistic dilemma in the analysis of Schutz and Parsons’ epistolary exchange. We will analyze this interpretive scheme’s main features by using the hermeneutical analysis. Then, in order to critically revisit the debate, our research unveils the prejudices involved in this interpretive tradition, highlighting the misunderstandings regarding the dualistic interpretation of Schutz’s work and his links with Parsons. By doing this it makes clear the way in which these interpretations have veiled the original sense of Schutz’s epistolary exchange with Parsons. Thus our paper, being directly opposed to the dominant reading, aims to propose that the debate shouldn’t be seen as a confrontation between subjectivism and objectivism, but as part of Schutz’s project to go beyond the dualism, starting with a phenomenological approach that recovers the life-world as the forgotten foundation of the social sciences. (shrink)