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    27 views128 pages

    Cultural Sudies and Critical Theory PDF

    Uploaded by

    RodrigoCarrilloLopez

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 128
    Mathie Eden (SM) Cuttural Studies and Critical Theory Patrick Fuery and Wick Mansfield OXFORD QxFORD rm ot Si ee WA Seinen dre een, DSR Ren ‘SG lS an Root Bang ne cea aa at re Eimer Stat Wane ec Mab cP [Reisen Stang Spr Tape To fst War ‘osu capuin ose Baan egebarte) Boot 7 "Shaan Bigemy ta ain Ma i ‘Bel Men ee eo Sout Every oe On ‘REST ccs Rls Bl ea Ss Contents Acknowledgments Preface Introduction Part One The Humanities After Humanism Introduction 1 Posthumarism 2. The ert, Culture, and the Unconscious: Life Without the Canon Part Two From Interpretation to Interaction Introduction {3 The Ready Guastion: Phenomenalogy, Semiotics, and the Act of Reading 4 Deconstruction, The Death ofthe Author anc Ineortextusly 5 Seduced bythe Text: Theories ofthe Gaze 6 Veual Cutures PartThree Contextuslity Introduction 7. Contextual: Postmedemism {8 Contextual: Feminism and the Fit of Noir 8. Contexualty: The Cutual Politics of Postmoderism Part Four Texts and Subjects Introduction 40. The Edge of the Miror:The Subjct and the Other 11 Mating and Unmaking the Subject 12 Deconstructing Sexuality Concusion Glossary Bibliography Index aes Acknowledgments ‘We would ike wo thank a number of people who have helped ws wich this projet. Jill Henry at Oxford Universiy Press for her advice, patience, and encouragement, and Jo MeMilan for efficent (and considerate) editing. The Royal Netherlands Academy ofthe Arts and Seienees for a fellowship and 2 grant for sesearch. Bock “Macquarie University and the University of London offered financial and practical suppor. Our collegues in Critical and Cularal Studies at Macquarie for thee help and their belie another way of doing things. Patrick Faery would ike to thankhsfamily—Kelli and “Morgan—who have gives so much support andersanding, and love during this project. He also thanks them for taking him to Disneyland Paris, mostly for cesearch purposes. Nick would lke to thank Yroone Eden, whose seseasth and judgment made his ‘work possible Preface ‘When we set out in 1994 teach a first-year undergraduate course fon theoretical concepts in trary and cuturl studies, we assumed i would be easy to find 2 textbook. We found, howeves, that many ‘ofthe candidates, suchas Catherine Belsey’s Critical Practice (1980) ‘or Terry Eapletons Literary Theory: An Introduction (1983), both of ‘which belong tothe heady days of the eacly 1980s, were dated. ‘Other, such at Raman Seldens A Reader's Guide to Contemporary “Literary Theory (1985), had refined teary theory int a canon— providing potted summaries ofthe work of 'ajor figures or move ‘ments. Anthologies of readings, in cur, were always dssatstyng, made up of predictable o unusable choices, and never quite organ. ised into a useful staceure, Nor did we want a book tht deal only with che issues of representation and deconstruction that dominated 1970s and 1980s literary theory, We certainly wanted to deal with ‘these issues but asa starting pone to an investigation of the highly charged controversies about power, gender, subjectivity, culture, and semuality that have defined the humanities inthe 1990s, and ave is major point of contact withthe non-academic wold ‘This book is organised, therlore, around a set of controversies ‘We fle thar it was not part of our students’ education tobe made ro appreciate the achievements ofthe theoretical igureheads that had influenced and impressed us. Ceainly, che construction of a post ‘modern canon may sometimes sem pedagogically necessary, but itis smote o¢ less a bewayal of what many theorists st ou to achieve Or aim is noe to induct students inv a panicular mode of thinking, but to enliven ast of iss for them, so that they may enter vigor” ‘ously into the debate from whichever position suis them. Of course, ‘we have conscious and unconscious biases of our wn that mast be exhibited everywhere in this book. There is also disagreement between the woof us on many ofthe isuesdseused here. But itis ‘our bei tha in the new humanities, disagreement isthe ame of the game, We are aware that we are probably always conforming to present of future orthodosof one sor or another, but our hope is thac readers will not fel that they are being asked ro agre with cet- tain points of view in onder to ener the community of the theoet- cally lierate, Similarly, we have chosen not ro pretend that ee issues dea with sete canbe redaced to simple, unambiguous statements. The area of cultural theory dele with ditficul material, and that will sometimes Show up ina certain density to our argument. Thisis partly Because the sues dealt with ae fundamental tothe way we encounter cul- ture, plies, and indeed ourclves. Many theories that have had Inajor impact on literary and cukaralstaies have dele with what tale generations of intellectuals least in, say, English stud- iee—took for granted: subjecivity, sexuality, endes, and so on, “There is no easy way into alr of these ideas. On the other hand sve have found, often despite warnings from colleagues that we were being naive, that even first year students have an enthusiasm for a Jor of diffiele and abstract material when the fel it wo be chal Tenging and extending In fact, we must mack our gratitade co st dents in the Concept and Controversy stand of ENGL45 and the subsequent CUL 100: Test, Image, Culture both at Macquarie Universi) over the last several years, who, through their enthusi- asm for much of che material covered here, made us reals that this project was a worthwhile one. Having mentioned our stadent iis probably worth noting that we hope tis book will also be of valve to people working in journalism, che arts and entertainment inds tres, and those who ace interested in general inthe isues thrown ‘up by contemporary cultuze. We hope twill be of incerest and sx- vice to ar many people as possible ‘Much ha been sail about the radical eensfrmason ofthe human- ities inthe lst tity yeas. This has been partly due tothe radical expansion ofthe tertiey education sector ia that time, and partly a result of eeonsiderstions of the socal function of intellectual work Since the 1960s. Iie also duet an expansion inthe theorisation of ‘many fundamental iesues that touch on all fields in the humanities, ‘whatever their traditional provenance. This book s organised around four key subject areas that we fe summarise the main achievements ofthis theorisaton, Fs, the ue of culture: what isthe relationship between the ‘new’ humanises and che humanism from which they derived? How do the new humanities make ue reconsider wha ‘cule ture is expecially the relationship betwen high low, and sub cu- ture? Second, the issue of textual: wha i a text? How do texts relate to one another, to thei auchors and audiences? How do they felate to our bodies, and ourselves? Third, what isthe relaonship between tex and thee contexts: how do postmodern undewstandings of what texts do compare with those of the modern era, and adie? How does gendes, particularly as theorised by posttruturalism, con dition our tatonship with texts? Finally, what i subjectivity, and ‘wn has i become oinportne? In tis ast section we deal with sy

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