Book Description
Forty years in the making, a new cultural canon that celebrates truth over hypocrisy, literature over totalitarianism.
Echoing Edward Said's belief that "Western humanism is not enough, we need a universal humanism," the renowned critic Clive James presents here his life's work. Containing over one hundred original essays, organized by quotations from A to Z, Cultural Amnesia illuminates, rescues, or occasionally destroys the careers of many of the greatest thinkers, humanists, musicians, artists, and philosophers of the twentieth century. In discussing, among others, Louis Armstrong, Walter Benjamin, Sigmund Freud, F. Scott Fitzgerald, Franz Kafka, Marcel Proust, and Ludwig Wittgenstein, James writes, "If the humanism that makes civilization civilized is to be preserved into the new century, it will need advocates. These advocates will need a memory, and part of that memory will need to be of an age in which they were not yet alive." Soaring to Montaigne-like heights, Cultural Amnesia is precisely the book to burnish these memories of a Western civilization that James fears is nearly lost. 110 photographs.
Customer Reviews:
A difficult read,but worth the time.......2007-10-01
Although this book has an intersting premise,it is a difficult book to read.It is written in essay form,and the author's style is not flowing or easy to read.However the content is interesting and does make you think about how we got where we are to-day:by losing sight of,and forgetting the past and important peope in it.
You can read this book a chapter at a time, and leave it for a while since each chapter is an essay on one person.it is not a novel,but a collection of essay/biographies, and includes some very intersting people
Absolutely Must Reading.......2007-09-15
In fairness, I had never heard of Clive James until he appeared on Bill Moyers Journal on PBS. I was just blown away and ordered this book the next day. If you want to understand Western culture ... I mean truly understand the culture in which you live, you should read this book. What you learn here is that a whole lot of people you never heard of and a few you have made monumental contributions that you didn't know about. This is the kind of book every person should have in their library as a reference. You can read it at leisure and you should. You should savor it.
Read it at your own perill.......2007-09-11
If you never studied French, German, Italian or Spanish, you will be sorry you didn't. You will be made aware of all you are missing because you can not read the all those untranslated or untranslatable important writers that are fundamental to our civilization. If you know them you will see that for English speakers is very difficult not to be confused by Spanish and Italian. I have found misspelled Spanish words because the Italian spelling was used in the wrong place. Clive James is almost pushing me to start again with German, French and Italian.
convoluted writing.......2007-09-04
just found what I've read so far very digressive and convoluted. He is a much better speaker than writer. haven't given it a full read, but am daunted by the many digressions from the points I'm interested in. don't care about 10 other people whom I may or may not know who really don't have relevance to the person I'm reading about.
Unsurpassed both for content and style.......2007-09-01
This is an amazing book. Clive James was only a dim sound in my limited background before the book was presented to me as a present. When I finished this book, I made the unusual promise to myself to read it again, an unusual decision since I am not thoroughly committed to modern writing and have found nothing that quite measures up to it, either traditional or modern. The essays, it is made clear, were not written at the same time, but were the accumulation of some years of reading and study. The casual reader will be introduced to a number of people hitherto unknown or barely known, mixed in with giants like Tacitus, Keats, Proust, Kafka, the three Manns,and Camus. I cannot ignore James's prose style, which astonishes minute by minute. A must-read for anybody interested in history and the arts.
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- A wonderful book to read on Easter
- A personal "scrapbook" of memories told through art
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Memories Of My Life In A Polish Village, 1930-1949
Toby Fluek
Manufacturer: Knopf
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ASIN: 0394586174
Release Date: 1990-10-10 |
Customer Reviews:
A wonderful book to read on Easter.......2007-04-10
Toby Knobel Fluek book is beautifully illustrated. In a simple way, Toby brings the reader into Jewish culture and Sabbath day preparation, Password celebration, and the foods and clothing of these celebrations. Toby focuses on the excitement of kitchen and food preparation: baking bread for the week, preparing Challah, important cooking pots for the passover, subtle humor, eggs, chicken, the potato and its many dishes, and potato pancake. Toby sister was a dress maker for rich patrons. Toby's uncle Mordche bought local eggs and sold them in the city and trudged through the mud all day. Ironing was a laborous task which included filling the iron with ambers from the fire and occassionally rekindling the ambers by waving the iron around about her head. Sabbath candles and pots were given as marriage gifts. The community had men of various religious roles. One role was the reader of the Talmud. The Charoes remind the Jews of their captivity and the milling of cement for bricks. Sedar reminded them of the haste they left their capativity, lying on their side as they recite prayers and sing songs. The clothes and shoes had to be cleaned and polished for the Sabbath. Everyone was dressed clean and proper for the Sabbath. The Sabbath was celebrated with a wonderful feast of delicious food prepared the prior day. On passover, a place for Elijah set, facing East, and the door opened. The Elijah stories excited the imagination of the children. The did not go without candles and pototes were used to hold the candles for those that could not afford an Minohora. Women washed and carried water, plucked chicken feathers in exchange for delcious food. Aaron must wait to marry his love until her older sister marries.The family is imprisoned in a Polish Ghetto. Gentiles sell food to the Jews through the fence at exorbit prices. The polices beat people selling at the fence. Food rationing increases starvation. 10s of thousands of Jews die before concentration camp and survivors eventually deported to the camps. Toby and her mother escape, march behind retreating Russians. The scene reminds me of Ruth and Naomi of the old testament bravely walking as tracers whistle over their heads. Toby and her mother escapes concentration camp and are certain other family members did not survive. PK provides a place for clothes, a hot meal, and sense of civilization. A wonderful book to read at Easter. An amazing story of human courage, determination, and faith in their God. A history of incredible contrasts: joy and sorrow, marriage and death, and faith and despair.
A personal "scrapbook" of memories told through art.......2005-08-09
This little book is a real gem of Jewish history, told through one woman's art. The paintings and sketches are arranged in chronological order, with personal explanations of each work. The result is like a scrapbook. Whereas most people today would have an album of photographs, Toby Fluek lost everything in the Holocaust, and was forced to carry her memories in her mind. Years later, she committed them to paper and canvas and now shares them in this book.
Interestingly, her family lived on a farm. One does not usually think of Eastern European Jews as farmers, but, in fact, there were Jews who worked the land. (One of my gentile Polish neighbors here in Minnesota told me that the Jews in his village always had the best vegetables!) While it is true that there were restrictions against Jews owning land, it is also true that there were exceptions to the rules. Toby's father's family had been on this farm for generations. It was this aspect that led me to purchase the book, because I, too, live and work on the land.
"We led a primitive life," she writes, "but we were a close-knit family." The "primitive" side of life is illustrated in her excellent still lifes, which portray arrangements of the common objects used for the Sabbath, festivals, and everyday activities. A basket of eggs for Passover, candles for the Sabbath, a prayer shawl on the table. Meat was served only on the Sabbath or when her father had an animal slaughtered. (Even then, he sold the best cuts of meat.) On weekdays they ate lots of potatoes, beans, and vegetables -- all beautifully painted here. Pots and dishes were passed down from mother to daughter, and nothing was ever discarded. One still life shows a well-worn set of Passover pots stored in a niche in the wall. Another painting is of her mother working in the farmhouse kitchen. She in kneading a week's worth of bread dough in a large wooden tub.
As the story unfolds, we learn that Toby eventually lost everything to the Nazi occupation. This, too, is illustrated through her paintings and drawings. The style here is darker, more ominous. Not something I would hang on my wall (the burning hospital, with the people still in it, is utterly horrifying in its simplicity) but essential to the telling of her story. She shows us Yom Kippur in the forest, hiding outdoors in the rain, crouching in a cellar and hanging her bread on a string to keep the mice from eating it at night. Her father was shot by the Nazis, her brother captured and taken away, presumably to his death. Through it all, her will to live was strong and she survived.
The collection of paintings (94 in all) continues through the liberation of Poland, being a displaced person begging for food, finding a job in a Russian military bakery (where the soldiers looked the other way so she could steal bread to take home). In 1949 she was married and moved to New York, where she lives today. The world she once knew is gone, but the memory lives on in her artwork. The last painting, "Am Yisrael Chai" (The People of Israel Live! shows Jews parying at the Western Wall in freedom.
Book Description
In The Archive and the Repertoire preeminent performance studies scholar Diana Taylor provides a new understanding of the vital role of performance in the Americas. From plays to official events to grassroots protests, performance, she argues, must be taken seriously as a means of storing and transmitting knowledge. Taylor reveals how the repertoire of embodied memoryâconveyed in gestures, the spoken word, movement, dance, song, and other performancesâoffers alternative perspectives to those derived from the written archive and is particularly useful to a reconsideration of historical processes of transnational contact. The Archive and the Repertoire invites a remapping of the Americas based on traditions of embodied practice.
Examining various genres of performance including demonstrations by the children of the disappeared in Argentina, the Peruvian theatre group Yuyachkani, and televised astrological readings by Univision personality Walter Mercado, Taylor explores how the archive and the repertoire work together to make political claims, transmit traumatic memory, and forge a new sense of cultural identity. Through her consideration of performances such as Coco Fusco and Guillermo Gómez-Peña’s show Two Undiscovered Amerindians Visit . . . , Taylor illuminates how scenarios of discovery and conquest haunt the Americas, trapping even those who attempt to dismantle them. Meditating on events like those of September 11, 2001 and media representations of them, she examines both the crucial role of performance in contemporary culture and her own role as witness to and participant in hemispheric dramas. The Archive and the Repertoire is a compelling demonstration of the many ways that the study of performance enables a deeper understanding of the past and present, of ourselves and others.
Customer Reviews:
A Vital Intervention.......2006-02-15
Taylor's "The Archive and the Repertoire" is an absolute must-read for all scholars and students in performance studies, cultural studies, Latin American studies, and the social sciences in general.
Drawing on a diverse range of case studies from a Peruvian community theatre troupe to Univision astrologist Walter Mercado to her own firsthand account of witnessing 9/11, Taylor creates a new vocabulary for describing how cultures remember and re-enact with the body.
Although her insights are crucial for the future of performance studies and useful to senior scholars in the field, she writes with a clarity and personality that will engage undergraduate students as well.
VERY highly recommended.
Read This Important New Book.......2003-12-16
In her wonderful new book, Diana Taylor, a distinguished professor of both Spanish and performance studies, brings her areas of expertise into "conversation." Performances, she argues, are vital "acts of transfer" that transmit social knowledge, memory and a sense of identity in Latin/o American (and by extension other) cultures.
She writes, "I am not suggesting that we merely extend our analytic practice to other `Non-Western' areas. Rather, what I propose here is a real engagement between two fields that helps us rethink both." By working from the points of disconnection between area and performance studies Taylor creates a new framework for approaching performance as embodied social practice.
Shifting focus to "the live" requires new methodologies and Taylor creates exciting new theoretical tools to further this discussion. Since, in her view, much performance writing betrays the "embodiedness" it seeks to describe; Taylor coins terms that do not derive from literary sources. The repertoire of her title is her term for a "non-archival system of transfer" that can capture the ephemeral trace of performance. By providing her reader with a kind of archive of affect, Taylor makes the body central. She argues that the repertoire "allows for an alternative perspective on historical processes...by following traditions of embodied practice" instead of literary rhetoric. As an alternative to "narrative" she offers scenario, a term with a theatrical genealogy, meaning an open-ended " sketch or outline" as a way to connote colonial encounters. For example, Taylor wittily names the scenario in which we are encouraged to "overlook the displacement and disappearance of native peoples" at the root of the popular show Survivor, "Fantasy Island." Taylor expands on this theme in her second chapter, Scenarios of Discovery: Reflections on Performance and Ethnography. She writes, "Using scenario as a paradigm for understanding social structures and behaviors might allow us to draw from the repertoire as well as the archive."
Using these terms as "portable frameworks" and moving in and out of first person experience, Taylor explores a range of hemispheric performances. Chapters on the Mexican mestizaje, campy Latino American psychic Walter Mercado, and the ways that minority populations mourned Princess Diana, explore the hybrid spaces between perception and embodied culture. Taylor revisits the Argentinean "Dirty War"
(the topic of her book Disappearing Acts) in her chapter on H.I.J.O.S. -the children of the disappeared- and the "DNA of performance" that links them with their absent parents. Chapters on Brazilian performance artist Denise Stoklos, witnessing 9/11 and a 1998 Central Park performance of Rumba musicians interrupted by the NYPD, investigate the complex relations between hegemonic power and the anarchic spirit of live performance against a background of historic violence.
This book is a path-making piece of scholarship that recognizes performance as a valid focus of analysis. It creates a dialogue between area and performance studies that values the unique features of both. The questions Diana Taylor asks in Archive and the Repertoire extend beyond this work and will shape a terrain of inquiry in performance studies for years to come.
Book Description
Dialectic of Enlightenment is undoubtedly the most influential publication of the Frankfurt School of Critical Theory. Written during the Second World War and circulated privately, it appeared in a printed edition in Amsterdam in 1947. "What we had set out to do," the authors write in the Preface, "was nothing less than to explain why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism."
Yet the work goes far beyond a mere critique of contemporary events. Historically remote developments, indeed, the birth of Western history and of subjectivity itself out of the struggle against natural forces, as represented in myths, are connected in a wide arch to the most threatening experiences of the present.
The book consists in five chapters, at first glance unconnected, together with a number of shorter notes. The various analyses concern such phenomena as the detachment of science from practical life, formalized morality, the manipulative nature of entertainment culture, and a paranoid behavioral structure, expressed in aggressive anti-Semitism, that marks the limits of enlightenment. The authors perceive a common element in these phenomena, the tendency toward self-destruction of the guiding criteria inherent in enlightenment thought from the beginning. Using historical analyses to elucidate the present, they show, against the background of a prehistory of subjectivity, why the National Socialist terror was not an aberration of modern history but was rooted deeply in the fundamental characteristics of Western civilization.
Adorno and Horkheimer see the self-destruction of Western reason as grounded in a historical and fateful dialectic between the domination of external nature and society. They trace enlightenment, which split these spheres apart, back to its mythical roots. Enlightenment and myth, therefore, are not irreconcilable opposites, but dialectically mediated qualities of both real and intellectual life. "Myth is already enlightenment, and enlightenment reverts to mythology." This paradox is the fundamental thesis of the book.
This new translation, based on the text in the complete edition of the works of Max Horkheimer, contains textual variants, commentary upon them, and an editorial discussion of the position of this work in the development of Critical Theory.
Customer Reviews:
Nothing short of revolutionary.......2007-09-03
Marxist politics aside, Adorno and Horkheimer's staggering critique of post-enlightenment thought takes everything we "civilized" people take for granted and burns it---in front of your kids.
The examination of the oft-overlooked philosophy of the Marquis de Sade is especially significant, as it critiques the rogue philosopher while paying him his long-overdue respect as a true man of philosophy.
Adorno presents a challenging look at the modern condition.......2007-05-07
Adorno and Horkheimer are associated with the Frankfurt school of thought in post-WWII Germany. In this book, Dialectic of Enlightenment, the two thinkers disect the post-war condition looking at all aspects of cultural identity as based on ancient enlightenment-esque ideals. This book illuminates the devestating results of progressivist models of history in late capitalism. Probably the most famous essay deals with the culture industry and how, in post-war capitalism, movies, books, television all become tools of subjegation through which a falsified sense of individuality is produced and commodified to the ends of keeping the consumers of this industry distracted enough to ignore the insideousness of that which we allow to control us.
A very dense read, poetic in areas, but challenging throughout. Adorno is often criticized for being a cynic, but I think that under his often scathing view of modern culture is a message that through exacting self-reflection change of the "total system" can occur.
These themes are expanded on in Adorno's other works: Minima Moralia, and Negative Dialectic.
Gather the Fragments..........2006-11-14
"Myth is already enlightenment, and enlightenment reverts back to mythology" (xviii). This statement is likely one of the most explosive philosphical theses penned in the 20th century, for not only did it give expression to much of the suspicion and pessimism that people experienced in the early 20th century, particularly under the Nazi regime, but this statement set into motion much of the later suspicion concerning the Enlightenment project and its relation to not just freedom, but domination under freedom's guise.
Dialectic of Enlightenment: Philosophical Fragments is the most important work ever written by any of the members of the Frankfurt School; it stands as a type of manifesto really for the possibility of Critical Theory as a post-positivistic discipline. It is easy to miss, but this is not just a work of philosophy - it is not a work written by old men with elbow patches on their jackets pondering various ideas in a scientific and socio-historical philosophical vacuum. Quite the opposite: this is a book that drew upon then-current sociology and anthropology (particularly pertaining to religion), in addition to the history of philosophy and philosophical currents such as Marxism (Western Marxism, to be specific). This is a book that draws - obviously - on history; it is a book that has much to say about media and the effects of what Adorno called "The Culture Industry".
Several authors, such as Jurgen Habermas and Leszek Kolakowski, have noted the the structure of the book - what we might call its "poetics" - is quite abnormal for a work of philosophy. The subtitle of the book comes well into play here as a means of understanding the book; "Philosophical Fragments" very much describes what it is like reading this work. The genuinely fragmentary nature of the book - it begins with an essay titled "The Concept of Enlightenment" before two excurses (one on Odysseus and the other on Marquis de Sade), the chapter "The Culture Industry", a series of theses titled "Elements of Angi-Semitism: Limits of Enlightenment", and the closing section "Notes and Sketches" (which is anything but smooth) - only adds to the sense of urgency.
The attempt to ascertain "why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism" (xiv) animates the work. This regression ultimately has to do with the very nature of myth, which is "obscure and luminous at once" (xvii). It is with positivism that science believes it can banish all mystery from the world such that humans become masters of it (1); art itself has fallen prey to this myth (14). Perhaps surprisingly, this does not begin in the 18th century European Enlightenment, but with one of our most ancient of founding myths: Odysseus. The deceptive nature of the sacrifice in Odysseus is the beginning of our journey towards enlightenment, for it places us on a similar footing with the gods. The attempt of persons such as Sade to advocate a world without superstition not only turns us into beasts with "the innocence of wild animals" (77), but means that we still must hold onto one myth: that we can actually live in a world where all is entirely as it seems. Transgression of the previous morality (Catholicism) is the necessary mythical supplement to this view; it brings no pleasure but only violence. Both the Culture Industry and Anti-Semitism ultimately have the same totalitarian goal: to make everyone the same, as economic cogs in the machine, devoid of their individuality. Thus Enlightenment is necessarily violent against the Other, who doesn't fit in. The book ends with Notes and Sketches in a kind of anti-climax; Dialectic of Enlightenment is left open.
In many ways, this edition by Stanford University Press, in their uber-fine series "Cultural Memory in the Present", is like a critical edition in English. Dialectic of Enlightenment was printed various times and in various editions from 1944 thru 1969; this edition collects each of the prefaces for the various editions, and notes every single textual variant for each edition, some of which are seen as rather unimportant, but others of which show that the text was very much a continual work in progress for Horkheimer and Adorno. In addition to an Editor's Afterword, there is an essay appended at the end of the book titled "The Disappearance of Class History in "Dialectic of Enlightenment": A Commentary on the Textual Variants (1944 and 1947)", which many will likely to find insightful reading. This is an important addition to the library of many different fields - political thought, intellectual history, philosophy, theology, religious studies, and social theory, among others - regardless of how it has been produced. Stanford University Press should really be commended for producing it in such a way that it is a fine addition to one's library as well.
One does well to remember that this work should not be simply taken at face value. In their 1969 Preface, Horkheimer and Adorno mention that they ascribe a "temporal core to truth" (xi), which means that as an older text, what remains applicable in it should be used today, and what no longer applies should be left alone as having been applicable at one time in the past. Neither author ever endorsed the irresponsible usage of their work in the 1960s by protesting students who had become little more than mobs; that they have been linked to irresponsible New Left anti-politics (via their friend Herbert Marcuse) is not their fault. Rather, what Horkheimer and Adorno endorsed then (and would continue to endorse, were they still alive) is not a brutal application of a particular theory, but a sustained, thoughtful and well informed engagement of theory with the whole of the modern world. "As a critique of philosophy, it does not seek to abandon philosophy itself" (xii). In short, they believed in wisdom: and this is what philosophy is ultimately all about.
A masterpiece of critical theory.......2006-11-11
Max Horkheimer and Theodor Adorno, both prominents of the Frankfurter Schule of critical theory, wrote this work during WWII. In their own words, the purpose of the book was to explain why humanity, instead of entering a truly human state, is sinking into a new kind of barbarism. Obviously their experiences as Jewish intellectuals fleeing for the national-socialist regime to the United States was a strong impulse for this view, but the book is not limited to a critique of nazism or even totalitarianism altogether.
The main subject of the book, though that itself is already difficult to disentangle, is Enlightenment's betrayal of its own liberating capacity. Adorno & Horkheimer analyze this by means of various cultural metaphors, which in highly abstract, contradictory and aesthetic language (especially the parts by Adorno) trace the development of Enlightenment and its subsequent 'dark side' throughout an equally metaphorical history of culture and ideas. In a certain sense this may most remind readers not familiar with both authors of Foucault and his use of concepts like the Panopticon to express a view of power relations. The method of Adorno and Horkheimer is however not so much genealogical, as Foucault's is, as dialectical in its idealist form.
The book consists of an introduction, two "excursions" and two chapters on the Enlightenment itself, as well as a series of aphorisms provided at the end as "notes and sketches". Each part of the book consists of a very abstract, very metaphysical and almost entrancing analysis of, in turn, the development of Enlightenment as myth out of earlier myth, the form of modern Enlightenment as instrumental reason and mass deception, and the limits of Enlightenment to its own rationality, in the form of anti-semitism. The language of the book is extremely difficult, even in English, and in the best (and worst) traditions of continental philosophy it contains a very great amount of layers and meanings, not all of which are free of internal contradiction. Readers familiar to Situationist works are perhaps best prepared for the effect, which is somewhat similar in method, if not in style, to Guy Debord.
The introduction, "The Concept of Enlightenment", posits Enlightenment as thought liberating man from his natural shackles, and creating man as master of the earth. This process of liberation entails at the same time the possibility of man to protect himself from, and understand the workings of, nature, and also mankind's loss of being one with nature. In this process, the self is created as a subjectivity divorced from direct experience of the outside world. Man's memory of this is very vague and distant, but is present in everyone as a certain inchoate feeling of loss.
This is also the main subject of the first Exkurs, "Odysseus, or Myth and Enlightenment". The story of the Odysseia is here used in many ways to provide metaphorical expressions for the role of myth in and against Enlightenment. Myths are primitive descriptions of the world, and in being so are already classifications used as a form of instrumental reason, which is the seed of Enlightenment. The role of sacrifice to the Gods, for example, is presented as manipulation of those Gods, and in so doing already expression of an Enlightened mind avant la lettre. Odysseus' adventure with the Sirens is metaphor for man's loss as described above: Odysseus, the Enlightened ruler, knows his loss but is constrained by his knowledge from acting on it; and the shipmates, the great mass of modernity, is only vaguely aware of the loss, and are not affected. But Circe, the Cyclops, and many other themes are used besides.
The second Exkurs is "Juliette, or Enlightenment and Morality". The works of De Sade, in particular Juliette, here provide an expression of Enlightenments freeing and therefore contradictory character. Kant is contrasted with Juliette; where Kant is the restrained form of reason, reason as classifying and ordening power, Juliette is reason's destructive power of old orders. Because Enlightenment destroys the validity of any appeal to tradition, religion, etc., it falls pray to itself, in that Enlightenment's appeal to its own absolute values is undermined, in the same way that Juliette uses and is used by Catholicism in undermining it.
The third chapter is "Enlightenment as Mass Deception", covering the subject of the culture industry. Here Adorno rants against all the vapid and degraded culture forms he perceives in the United States, although he never states it as valid only for the US, of course. There are many interesting insights and observations about modern culture and still valid ones too in this chapter, but Adorno's general tone is that of the "hochbürgerliche" bourgeois annoyed about the offenses against good taste he sees. Yet to dismiss it based on that would be superficial, even if we cannot agree with Adorno's hatred for radio and jazz. His observations on American movies are very poignant, and in between his cultural criticism he hits on certain relations between the capitalist mode of production, its Enlightenment ideology, and the cultural superstructure that are very worthwhile for a patient radical.
The fourth chapter is called "Limits of Enlightenment", and addresses directly the subject of anti-semitism and fascism more generally. Fascism is posited as Enlightenment turned against itself (it must be noted Adorno & Horkheimer were among the first to state this, even if it is somewhat of a cliche now). Enlightenment's general instrumental reason knows only power as a measure of behavior. Therefore, it cannot tolerate the existence of groups that thrive, yet never have power, such as Jews and women. Whenever Enlightened society fails to satisfy the needs of its members, their anger is turned against such groups.
The last chapter, "Notes and Sketches", is as said a series of aphorisms, familiar to people who have read situationist works, or for example Walter Benjamin's notebooks.
Overall, this book is an extremely complex, but very worthwhile philosophical critique of modern culture, and a very pessimistic and negative analysis of Enlightenment and its possibilities. It is hard work to get to the bottom of it, but nevertheless rewarding for any student of philosophy.
The Black Book of Western Philosophy.......2005-05-03
The dialectic of Enlightenment is a history of appearances and false totalities that end up in totalitarianism. It is history presented as instrument of dominion. The false totalities of myth and rationality hides the primordial lie in which the law of identity appears in the world. By this logic, everything must be the same. Appearance is mythical in the sense that promise something that can never be fulfilled. The central argument of this wonderful book is that myth is already enlightenment because it tries to explain the world and gain utility from it; and enlightenment is already myth for it tries to exorcise everything different from it. As Adorno & Horkheimer puts it: "Enlightenment has a mythical horror to myth." The impulse for which Enlightenment tries to free itself from myth goes against itself in the form of saturating technical, formal rationality that will end up in the horror of ethnic genocide. This is the black book of Western philosophy.
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Islam, Memory, and Morality in Yemen: Ruling Families in Transition (Contemporary Anthropology of Religion)
Gabriele vom Bruck
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Yemen Chronicle: An Anthropology of War and Mediation
ASIN: 1403966656
Release Date: 2005-10-13 |
Book Description
This book tells a story of a Yemeni hereditary elite that was overthrown in the 1962 revolution in North Yemen, after enjoying exclusive rights to the leadership of the Imamate, the religiously sanctioned state for over a millennium. Rather than concentrating on recent political history, this book highlights the personal predicament of those targeted by the revolution. What is their sense of "past" and "self" in a transformed political setting where in some respects the mark of distinction has become a mark of disrepute? Focusing on the cultural politics of memory, the book explores how--in making sense of their current lives and formulating responses to adversity--members of the elite remember.
Book Description
This is a book about why history matters. It shows how popularized historical images and narratives deeply influence Americans' understanding of their collective past. A leading public historian, Mike Wallace observes that we are a people who think of ourselves as having shed the past but also avid tourists who are on a "heritage binge," flocking by the thousands to Ellis Island, Colonial Williamsburg, or the Vietnam Memorial.
Wallace probes into the trivialization of history that pervades American culture as well as the struggles over public memory that provoke stormy controversy. The recent imbroglio surrounding the National Air and Space Museum's proposed Enola Gay exhibit was reported as centering on why the U.S. government decided to use the A-Bomb against Japan. Wallace scrutinizes the actual plans for the exhibit and investigates the ways in which the controversy drew in historians, veterans, the media, and the general public.
Whether his subject is multimillion dollar theme parks owned by powerful corporations, urban museums, or television docudramas, Mike Wallace shows how their depictions of history are shaped by assumptions about which pasts are worth saving, whose stories are worth telling, what gets left out, and who is authorized to make the decisions.
Customer Reviews:
Mickey Mouse History.......2007-01-29
Is this guy for or against preservation? It's hard to tell sometimes. Gives another, if not confusing, viewpoint of the preservation movement.
Not a Mickey Mouse History, but a Donald Duck Rebuttal.......2002-09-16
Aside from a proverbial axe that Mr. Wallace is grinding (especially in the Reagan essay), the text employs a down-to-earth approach, avoiding the typical multi-syllabic lingo that is usually associated with academia. In addition, the broad purpose of his text is applaudable: the deconstruction of the myths and ideologies of history and the return to historical research and study.
However, I can say that while I agree with most of Mr. Wallace's viewpoints, I should also note that he has many fallacies in his case studies, particularly those with Disney. As a former Disney employee, I have to wonder how much time he truly spent researching the inner cogs of the "Mouse Machine," and who he spent time interviewing.
As a volunteer museum curator/collections manager, I must agree with other reviewers about Mr. Wallace's critical analysis of museums. "Could," "should," and "would" are great words when theorizing and idealizing about the historical preservation process, but until one actually experiences the real-world struggles of museum revitalization and artifact preservation, I tend not to pay any heed to the noisy cymbals of criticism.
Finally, as a graduate student of Popular Culture, and from an academic viewpoint, the lack of detailed citations and direct references in this book raises my concern about the integrity of the research that was done. The bibliography, while impressive in its depth, is not annotated enough to make up for the missing footnotes of works cited.
accesible, critical and still with a sense of humor.......2001-04-20
for someone interested in museum, spaces of exhibition and the like you will find section one and two of this book quite interesting. the first deals with different sorts of museums placing a critical point of view from communitary museums to opend air museums, to technology museums. the second part is great dealing with the forms of exhibition at disney. dystory, that special kind of reality that it is at once purified and sanitized and tha is quite part of the essence of thematized environments. parts three and four deal, respectively, with the restoraton movement in america and the politics of culture during regan's era, specially with the enola gay case.
Accessible and Thoughtful.......2001-03-02
Mike Wallace uses the kind of academic writing that all scholars should aspire to achieve--lively, free of jargon, and entertaining. His subject, as suggested by the book's title, is history and the debates that surround different depictions of history. Wallace observes, astutely, that the struggles over how to portray history reveals much about ourselves, our beliefs, and our agendas. Wallace points out that history is never neutral, a point that is well worth reinforcing.
My particular interest is Disney Studies, and Wallace has a section (actually two essays) devoted to Disney and it use of history. The first essay concentrates on Disney's use of history in its theme parks, particularly in places such as the Hall of Presidents and EPCOT. While Wallace does not shy from criticizing Disney's portrayal of history (in fact, one of Wallace's strengths is he does not shy from representing his own viewpoint clearly), he also does not simply dismiss the potential in integrating history, entertainment, and the kind of technological wizardy that Disney is known for. He makes a serious case for a reconsideration of Disney and its techniques, all without constantly hitting his reader over the head with things. In his second essay, Wallace concentrates on the failed Disney's America project, providing background information and a critique of Disney with a call to re-examine Disney's use of history as emblematic of other movements and struggles over American history. He also makes it clear that he believes simply dismissing Disney is not an effective strategy for considering how portrayals of history could engage the public. The strength here is that Wallace is not afraid to criticize both Disney and kneejerk criticisms of Disney, or to envision the melding of history and entertainment. Nor does he abandon the quest for critical presentations of history that open history to even further investigation. While this is no easy task, Wallace does succeed.
If there is one thing I would suggest, perhaps the element I feel is missing, is a better development of these strategies for the presentation of history that Wallace supports. Although that could indeed be a book in itself, it would have been nice to see more of Wallace dwell more on his own engagement with, even answers to, the questions he has raised in this book.
An accessible and essential look at the fight over history.......2001-02-15
This is a very easy-to-read, jargon-free book about various ways in which the American past has been marketed to the American public. Wallace makes clear that the past should not be sanitized or exaggerated for any purpose, no matter how noble. And he makes clear how dangerous distortions of the past can be, particularly in chapters that discuss Ronald Reagan's or Newt Gingrich's . . . shall we say, passing acquaintance with history as it happened, as opposed to how they wish it had happened.
That last sentence makes pretty clear that Wallace has an ideology of his own. He interprets much of American history in terms of the conflict between classes. He does not insist that his interpretation is the only valid interpretation, but the force with which he makes some of his ideological points keeps me from giving this a five star review. That said -- everyone should read this book. It pokes away at some of the myths that keep us from doing what we can to make American society even better. Mickey Mouse History might make you uncomfortable -- but it's a discomfort that has plenty of rewards in understanding.
Book Description
Acts of Memory presents 15 tightly integrated essays that illustrate the active role of individual and cultural memory in tying the past to the present. Memory, or memorialization, is a cultural activity occurring in the present that offers history another kind of source or document; one that provides insights into the past as it lives on today. The authors, in fields ranging from philosophy and history through literature and media studies, illustrate how memory serves many purposes, between conscious recall and unreflected re-emergence, between nostalgic longing for what is lost to polemical use of the past to reshape the present. Their essays coalesce around three topics: the need for memory and testimonial facilitation of memory, primarily in the case of historical and individual trauma; the site-specific nature of acts of memory, especially in geopolitically conflicted situations; and the potential contributions of acts of memory when facing the difficulties and needs of the present. "Neither remnant, document, nor relic of the past, nor floating in a present cut off from the past, cultural memory, for better or worse, binds the past to the present and future. It is that process of binding that we explore in this volume" writes Mieke Bal.
CONTRIBUTORS: Carol B. Bardenstein, Susan J. Brison, Ann Burlein, Katharine Conley, Lessie Jo Frazier, Gerd Gemuenden, Marianne Hirsch, Andreas Huyssen, Irene Kacandes, Mary Kelley, Marita Sturken, Ernst van Alphen, and the editors
Book Description
Instead of compartmentalizing American experience, the technologies of mass culture make it possible for anyone, regardless of race, ethnicity, or gender to share collective memories -- to assimilate as personal experience historical events through which they themselves did not live. That's the provocative argument of this book, which examines the formation and potential of privately felt public memories. Alison Landsberg argues that mass cultural forms such as cinema and television in fact contain the still-unrealized potential for a progressive politics based on empathy for the historical experiences of others. The result is a new form of public cultural memory -- "prosthetic" memory -- that awakens the potential in American society for increased social responsibility and political alliances that transcend the essentialism and ethnic particularism of contemporary identity politics.
Book Description
This highly original interpretation of Paul by the Jewish philosopher of religion Jacob Taubes was presented in a number of lectures held in Heidelberg toward the end of his life, and was regarded by him as his “spiritual testament.” Taubes engages with classic Paul commentators, including Karl Barth, but also situates the Pauline text in the context of Freud, Nietzsche, Benjamin, Adorno, Scholem, and Rosenzweig. In his distinctive argument for the apocalyptic-revolutionary potential of Romans, Taubes also takes issue with the “political theology” advanced by the conservative Catholic jurist Carl Schmitt. Taubes’s reading has been crucial for a number of interpretations of political theology and of Paul—including those of Jan Assmann and Giorgio Agamben—and it belongs to a wave of fresh considerations of Paul’s legacy (Boyarin, Lyotard, Badiou, Zîzêk). Finally, Taubes’s far-ranging lectures provide important insights into the singular experiences and views of this unconventional Jewish intellectual living in post-Holocaust Germany.
Book Description
This volume collects a number of important and revealing interviews with Richard Rorty, spanning more than two decades of his public intellectual commentary, engagement, and criticism. In colloquial language, Rorty discusses the relevance and nonrelevance of philosophy to American political and public life. The collection also provides a candid set of insights into Rorty's political beliefs and his commitment to the labor and union traditions in this country. Finally, the interviews reveal Rorty to be a deeply engaged social thinker and observer.
Customer Reviews:
Very prcatical volume.......2007-07-12
this is an excellent volume for Rorty researchers; I usually do not have a lot of consideration for interview volumes, when we are talking about huge thinkers, such as Rorty, but this one would clear your views on one of the paradigmatic philosophers.
What you get in this volume are almost axiomatic statements about Rortianism - it will deffinitely be a great instrument should you want to read more complicated works of Rorty's.
A Thought-Provoking Read.......2006-05-03
It's easy to find paradoxes in Richard Rorty's thinking. He's an academic philosopher who has no faith in philosophical systems, a thinker who rejects the label "relativist" but disbelieves in the idea of absolute Truth, a liberal social observer who has Utopian hopes for humanity but rejects radical social change, a moralist who believes we can discover more about ethics and the vagaries of human conduct in a Henry James novel than in a Sunday church sermon or a philosophical treatise on ethics, and an ironist who claims that we must put irony aside when confronting social issues.
With admirable cogency, this book takes on most of these paradoxes and transforms them into highly readable food for thought. Most passages, as is true of several other recent Rorty works, are accessible to an educated layman who reads little or no academic philosophy. Those who are either mystified or irritated by the arcane jargon that dominates much academic philosophy will be enlightened by Rorty's take on the subject, and by his distinction between what he calls narrative and analytic philosophy. Though analytically trained, he favors the narrative thinkers, his major influences being the American pragmatists, William James and John Dewey. He is also clearly inspired by two Continental European thinkers, Nietzsche and Heidegger, but displays mixed feelings about both of them. He claims in this book-and I think justifiably-to distill solid and inspired pragmatist thinking from the work of both men, while discarding the chaff of Nietzsche's pro-aristocratic, anti-democratic perspective and Heidegger's fascist inclinations and pronouncements. Meanwhile, readers of this book who also happen to be admirers of Jurgen Habermas will find that he and Rorty have many points in common.
This book takes form as a series of interviews conducted by various interlocutors, and headed with a helpful overview of Rorty's thinking by editor Eduardo Mendieta. Occasionally, one or another of the interviewers asks a show-off question with inflated rhetoric, but Rorty has a good-natured way of deflating the jargon and bringing both question and questioner gently down to earth. Where passages occasionally lapse into predictability, the fault lies not with Rorty, but with unimaginative or clich? questions posed by an interviewer. For instance, when asked the old chestnut about whether or not the U.S. thrust into Afghanistan was an appropriate response to 9/11, his reply is no different from the opinions of the rest of us who consider ourselves reasonably informed onlookers. He remarks that even allowing for Washington's habit of lying to the American people, it simply made good sense to go to Afghanistan and root out the terrorist bases and training camps. But more often than not, the book's questions are more provocative, and Rorty is more than equal to the task of answering them.
A witty romp, well worth a read.......2006-02-03
Rorty has become a cultural phenomenon unto himself, standing (with Chomsky and a few others) as one of America's most famous intellectuals (so it's more than a bit distressing to discover here that he's convinced we're headed for nuclear annihilation! Why must major American intellectuals be Cassandra figures?) The Introduction by Mendieta is nicely written and illuminating, if a bit hagiographic (and the picture on the cover is priceless!). Whatever you think of Rorty's philosophical views (I find myself agreeing at most half the time -- and what fun is it to read someone you completely agree with?), he is incredibly clever. He's got the wit of a 18th century French moralist, reincarnated for the 20th century. This collection of selected interviews showcases his great talent for the moody one-liner, the quick rejoinder, the ever-clever repartee; one almost feels sorry for the interviewers on whom he frequently sharpens his tools. Rorty is a masterful stylist, and, while I think his most highly developed medium remains the essay, for those of us who have read so many of his essays that they start to seem formulaic, the interview makes for an interesting change of pace. This book helps give one a sense of Rorty's full philosophical voice, his thoughts about his own remarkable intellectual trajectory, and, in the end, his rather depressing vision of our future.
Books:
- Culture and Values, Volume II: A Survey of the Humanities (with CD-ROM) (Culture & Values)
- Debunking 9/11 Myths: Why Conspiracy Theories Can't Stand Up to the Facts
- Don Troiani's Soldiers of the American Revolution
- Esquire The Meaning of Life: Wit, Wisdom, and Wonder from 65 Extraordinary People
- Fingerprint: The Art of Using Handmade Elements in Graphic Design
- Firefox Hacks: Tips & Tools for Next-Generation Web Browsing (Hacks)
- For Men Only: A Straightforward Guide to the Inner Lives of Women
- Global Woman: Nannies, Maids, and Sex Workers in the New Economy
- Gone Wild (Caldecott Honor Book)
- Health Care Managers in Transition: Shifting Roles and Changing Organizations (Jossey Bass/Aha Press Series)
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