First published in 1984, Cultural Analysis is a systematic examination of the theories of culture contained in the writings of four contemporary social theorists: Peter L. Berger, Mary Douglas, Michel Foucault, and Jürgen Habermas. This study of their work clarifies their contributions to the analysis of culture and shows the converging assumptions that the authors believe are laying the foundation for a new approach to the study of culture. The focus is specifically on culture, a concept that remains subject to (...) ambiguities of treatment, and concentrates on questions concerning the definition and content of culture, its construction, its relations with social conditions, and the manner in which it may be changing. The books demonstrates how these writers have made strides towards defining culture as an objective element of social interaction which can be subjected to critical investigation. (shrink)

Global cycles of rising and declining hegemonies within the world-system have been associated with periods of war and peace, free trade and protectionism, and economic expansion and contraction. Periods of hegemonic decline are also associated with the cultural production of a certain strain of self deprecating, or even self-hating, literary output. And, because we are dealing with the world-system, the popularity of such icons of national self-deprecation should be gappreciated within other countries. We see this in the fact that Don (...) Quixote, poking fun at Spanish chivalry was an immensely popular book outside as well as inside Spain. Similarly, the James Bond books, and particularly the movies had a huge audience world wide, and, the same could be said for the Rambo movies which poked fun at the chivalric Green Beret American military figure. We see, then, three instances of hegemonic decline—Spain, Britain, United States—and three instances of self-deprecating literary figures—Don Quixote, James Bond, and Rambo. (shrink)

Art is a language. Art objects are therefore decipherable into more or less elaborated and restricted codes. These codes change with the relative solidarity of the community in which they are produced. The more solidary the group, the more restricted the code; the less solidary the community, the more elaborated the artistic codes they produce. In general, realism is a more elaborated code and abstraction a more restricted code, and accordingly more solidary communities should produce more abstract art and less (...) solidary groups should produce more realistic art. This theoretical relationship between artistic codes and group solidarity is captured in the idea of a "semantic equation" and is applied to changes in the styles of New York art from the 1940s through the mid 1980s. (shrink)