This paper is concerned with the deployment and the transformation of Gramsci’s notion of hegemony and the purpose it serves. I argue that, in its travel from Rome to London, this notion acquired something like a truth-value. In London the notion yielded what I call ‘hegemony thinking’: a distinctive style of thinking that focused on strategy to carry out effective political interventions. To demonstrate my claim I trace the Marxism Today discussion on the crisis of the Left and strategy in (...) the UK. In particular, I look at the engagements of the late historian Eric Hobsbawm and the cultural theorist Stuart Hall with Gramsci’s work, and examine the appropriation of the coordinates of hegemony by the entrepreneur and Blair policy advisor Geoff Mulgan. (shrink)

This paper is concerned with the deployment and the transformation of Gramsci’s notion of hegemony and the purpose it serves. I argue that, in its travel from Rome to London, this notion acquired something like a truth-value. In London the notion yielded what I call ‘hegemony thinking’: a distinctive style of thinking that focused on strategy to carry out effective political interventions. To demonstrate my claim I trace the Marxism Today discussion on the crisis of the Left and strategy in (...) the UK. In particular, I look at the engagements of the late historian Eric Hobsbawm and the cultural theorist Stuart Hall with Gramsci’s work, and examine the appropriation of the coordinates of hegemony by the entrepreneur and Blair policy advisor Geoff Mulgan. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Negative Capability Reclaimed: Literature and Philosophy Contra PoliticsIhab HassanI began a few years ago to try to make space in my reckoning and imagining for the marvellous as well as the murderous.Seamus HeaneyTwo concerns cross in this essay: the first, explicit, regards the current condition of the academic humanities, their idioms and axioms, especially in America; the second, implicit, regards my own need to confront criticism, its abstractions that (...) now enable, now disable, the profession and even more the experience of literature. Such concerns must mix speculation and autobiography, mix the pride with the pathos of mind.But I should admit it from the start: my title cries paradox. Negative capability reclaimed? Can reclamation dwell in “uncertainties, mysteries, doubts, without any irritable reaching after fact and reason,” as Keats thought, and can a critic aspire to the condition of a poet, in whom the “sense of Beauty overcomes every other consideration, or rather obliterates consideration”? 1Mine, I repeat, is a hybrid critical discourse, touched by exasperation more than mystery. Yet negative capability can still serve us as emblem of certain qualities, attitudes, dispositions that we bring to literature, without turning that happy phrase into yet another slogan. Beyond the arrogance of transient ideologies, beyond the mawkishness of self-regard, negative capability may offer us a kind of patience, perhaps ascesis, the intellectual and, yes, spiritual equivalent of discipline in our moment. [End Page 305]IStated baldly, my proposition, which I will need continually to texture and qualify, is this: the prevalence of politics, the obsession with power, the unrelieved pressure of both in the university, skew our language, thought, values. Thus the ancient quarrel between poetry and philosophy, between Homer and Plato, now cedes the field to a nastier agon between both and politics as GRIM (my acronym for the Great Rumbling Ideological Machine) grinds on. These are no abstractions; the clamorous evidence is all about, indicative even in its triviality, banality.Take a book blurb. Kathy Acker endorses a new, and quite intelligent work, entitled Male Matters, thus: “Calvin Thomas is able to hint at a way out of the prisonhouse of straight male identity.” Granted, this is but an ad in a university press catalogue. But what does the language reveal about the assumptions of academic discourse? “Prisonhouse,” really, for all unfortunate, straight males? Is a generalization of this kind permissible when blander generalizations about other groups raise such a hue and cry? Will straight African-American or Native American males feel “offended” by the statement? Or is it all a matter of restitution, categorical loyalty, political commitment? And when will that supreme fiction, the white, straight, bourgeois, rational male “subject” cease to prop up every ideological complaint?Thought blends into hype; words writhe; stereotypes become as transparent as the stereotypes they once repugned. But let us consider an example worthier of criticism. In his Inaugural Lecture as Robert Wallace Professor at the University of Melbourne, entitled “The Departure of English?” (the question mark risks disingenuousness), Professor Simon During inelegantly states: “The academic appropriation of the avant-garde transfiguration of values is happening as what I am calling the departure of English—in the relative decline of literary studies and cultural studies’ emergence.” 2 Professor During thus assumes, on behalf of cultural studies, the mantles of Friedrich Nietzsche, Arthur Rimbaud, Alfred Jarry, Hugo Ball—where is Antonin Artaud?—and Walter Benjamin, though none really had a mantle to bequeath. For a moment, the mind reels: Nietzscheans and poètes maudits, Pataphysicians and Dadaists, as apostles of cultural studies, of political correctness, group think, and GRIM? Involuntarily, the lines of William Butler Yeats, in “The Scholars,” sing out: “Lord, what would they say / Did their Catullus walk that way?” [End Page 306]We are all free, of course, to reinvent our ancestors and to derive later authority from what an earlier generation derided—free, this side of ludicrousness. But Professor During’s argument, a sort of academic conceit, discourages mere ridicule; it has pedagogical consequences. Thus he continues: “I am certainly not claiming a causal relation between modernism circa 1900 and academic cultural studies today. Rather I want to argue that cultural studies... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 1-13 [Access article in PDF] From Postmodernism to Postmodernity: The Local/Global Context Ihab Hassan I What Was Postmodernism? What was postmodernism, and what is it still? I believe it is a revenant, the return of the irrepressible; every time we are rid of it, its ghost rises back. Like a ghost, it eludes definition. Certainly, I know less about postmodernism today than I (...) did thirty years ago, when I began to write about it. This may be because postmodernism has changed, I have changed, the world has changed.But this is only to confirm Nietzsche's insight, that if an idea has a history, it is already an interpretation, subject to future revision. What escapes interpretation and reinterpretation is a Platonic Idea or an abstract analytical concept, like a circle or a triangle. Romanticism, modernism, postmodernism, however, like humanism or realism, will shift and slide continually with time, particularly in an age of ideological conflict and media hype.All this has not prevented postmodernism from haunting the discourse of architecture, the arts, the humanities, the social and sometimes even the physical sciences; haunting not only academic but also public speech in business, politics, the media, and entertainment industries; haunting the language of private life styles like postmodern cuisine--just add a dash of raspberry vinegar. Yet no consensus obtains on what postmodernism really means.The term, let alone the concept, may thus belong to what philosophers call an essentially contested category. That is, in plainer language, if you put in a room the main discussants of the concept--say Leslie Fiedler, Charles Jencks, Jean-François Lyotard, Bernard Smith, Rosalind Krauss, Fredric Jameson, Marjorie Perloff, Linda Hutcheon and, just to [End Page 1] add to the confusion, myself--locked the room and threw away the key, no consensus would emerge between the discussants after a week. But a thin trickle of blood might appear beneath the sill.Let us not despair: though we may be unable to define or exorcise the ghost of postmodernism, we can approach it, surprising it from various angles, perhaps teasing it into a partial light. In the process, we may discover a family of words congenial to postmodernism. Here are some current uses of the term: 1. Frank Gehry's Guggenheim Museum in Bilbao (Spain), Ashton Raggatt McDougall's Storey Hall in Melbourne (Australia), and Arata Isozaki's Tsukuba Center (Japan) are considered examples of postmodern architecture. They depart from the pure angular geometries of the Bauhaus, the minimal steel and glass boxes of Mies van der Rohe, mixing aesthetic and historical elements, flirting with fragments, fantasy, and even kitsch. 2. In a recent encyclical, titled "Fideset Ratio," Pope John Paul II actually used the word postmodernism to condemn extreme relativism in values and beliefs, acute irony and skepticism toward reason, and the denial of any possibility of truth, human or divine. 3. In cultural studies, a highly politicized field, the term postmodernism is often used in opposition to postcolonialism, the former deemed historically feckless, being unpolitical or, worse, not politically correct. 4. In Pop culture, postmodernism--or PoMo as Yuppies call it insouciantly--refers to a wide range of phenomena, from Andy Warhol to Madonna, from the colossal plaster Mona Lisa I saw advertising a pachinko parlor in Tokyo to the giant, cardboard figure of Michelangelo's David--pink dayglo glasses, canary shorts, a camera slung across bare, brawny shoulders--advertising KonTiki Travel in New Zealand. What do all these have in common? Well, fragments, hybridity, relativism, play, parody, pastiche, an ironic, anti-ideological stance, an ethos bordering on kitsch and camp. So, we have begun to build a family of words applying to postmodernism; we have begun to create a context, if not a definition, for it. More impatient or ambitious readers can consult Hans Bertens' The Idea of the Postmodern, the best and fairest [End Page 2] introduction I know to the topic. But now I must make my second move or feint to approach postmodernism from a different perspective. II Postmodernism/Posmodernity. I make this move by... (shrink)

Postmodernism once more—that breach has begun to yawn! I return to it by way of pluralism, which itself has become the irritable condition of postmodern discourse, consuming many pages of both critical and uncritical inquiry. Why? Why pluralism now? This question recalls another that Kant raised two centuries ago—“Was heist Aufklärung?”—meaning, “Who are we now?” The answer was a signal meditation on historical presence, as Michel Foucault saw.1 But to meditate on that topic today—and this is my central claim—is really (...) to inquire ‘Was heist Postmodernismus?”Pluralism in our time finds itself in the social, aesthetic, and intellectual assumptions of postmodernism—finds its ordeal, its rightness, there. I submit, further, that the critical intentions of diverse American pluralists—M. H. Abrams, Wayne Booth, Kenneth Burke, Matei Calinescu, R. S. Crane, Nelson Goodman, Richard McKeon, Stephen Pepper, not to mention countless other artists and thinkers of our moment—engage that overweening query, “What is postmodernism?,” engage and even answer it tacitly. In short, like a latter-day M. Jourdain, they have been speaking postmodernism all their lives without knowing it.But what is postmodernism? I can propose no rigorous definition of it, any more than I could define modernism itself. For the term has become a current signal of tendencies in theater, dance, music, art, and architecture; in literature and criticism; in philosophy, psychoanalysis, and historiography; in cybernetic technologies and even in the sciences. Indeed, postmodernism has now received the bureaucratic accolade of the National Endowment for the Humanities, in the form of a Summer Seminar for College Teachers; beyond that, it has penetrated the abstractions of “late” Marxist critics who, only a decade ago, dismissed postmodernism as another instance of the dreck, fads, and folderol of a consumer society. Clearly, then, the time has come to theorize the term, if not define it, before it fades from awkward neologism to derelict cliché without ever attaining to the dignity of a cultural concept. 1. “Maybe the most certain of all philosophical problems is the problem of the present time, of what we are, in this very moment,” writes Michel Foucault in “The Subject and Power,” reprinted as “Afterword” in Michel Foucault: Beyond Structuralism and Hermeneutics, ed. Hubert L. Dreyfus and Paul Rabinow : 777-96. Ihab Hassan is Vilas Research Professor of English and Comparative Literature at the University of Wisconsin—Milwaukee. He is the author of, among other books, Radical Innocence , The Dismemberment of Orpheus , Paracriticisms , and The Right Promethean Fire . His latest work, Out of Egypt, is forthcoming in 1986. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Postmodernism:A Self-InterviewIhab HassanThe following interview did not take place in Ihab Hassan's study in Milwaukee, with a view of Lake Michigan, rippling turquoise, blue, and mauve under a sky of fluffy paratactical clouds.Interviewer: You are sometimes known as the Father...Hassan: Please! At most, the Godfather of Postmodernism, though I don't know who the Godmother is. Maybe Madam Hype?I: Why hype?H: Because postmodernism began as a genuinely contested idea (...) and is fading as a form of media hype.I: Can you define it, however tentatively?H: I would prefer not to. In fact, I cannot, no more than I can define romanticism or modernism in a sentence or paragraph. Such definitions are best left to some onomastic genius. Once, I offered a table of features contrasting modernism with postmodernism. Once is quite enough.I: Why is that?H: Because it was as widely cited as pounced upon, nearly everyone ignoring my pointed disclaimer: "Yet the dichotomies this table represents remain insecure, equivocal. For differences shift, defer, even collapse; concepts in any one vertical column are not all equivalent; and inversions and exceptions, in both modernism and postmodernism, abound."I: Well, if we can't define postmodernism, how can we talk about it? [End Page 223]H: The way we talk about everything else: say, freedom, justice, love, spirit, happiness.... We talk about postmodernism by using the word in various verbal contexts—Wittgenstein would have said "language games"—and seeing what happens.I: What happens?H: Some discussions engage postmodernism and clarify it in certain perspectives, without actually defining it: for instance, the works of Hans Bertens, Charles Jencks, Andreas Huyssen, even Fredric Jameson....I: Why even Jameson?H: Because Marxism has a tenuous relation to contemporary reality, as everyone knows except some Western academics.I: Some would say that the entire phenomenon of postmodernism is an exercise of Western academics.H: That's a bit of a non sequitur but true enough, true up to a point. Remember, the phenomenon has overflowed its theoretical origins to become a kind of ironic cultural awareness, a mode of historical reflexivity—if you wish, a perpetually anxious exercise in self-definition.I: But Western, always Western, right?H: Japan has contributed vigorously to postmodernism, especially in art and architecture. So, instead of saying "Western," let's say high-tech, mass-media, omni-consuming societies.I: That, in effect, excludes four fifths of the world, wouldn't you say?H: Yes—and no. You see, cultural postmodernism has mutated into geopolitical postmodernity. By the latter, I mean both globalization with its thousand faces (multinational capitalism, cyber technology, cultural imperialism, "Americanization"), and counter-globalization with as many masks (local knowledge, old cultural traditions, postcolonial ideologies, anti-Western resentments). It's the monster phenomenon of our time.As I have written a good deal about this phenomenon, most recently in Angelika, I won't repeat myself here. The point, however, is that postmodernity is a planetary process, postmodernism is not.I: That suggests a political dimension, which some say you have slighted in your work. How would you respond to that criticism?H: Writing in the late sixties and early seventies about postmodernism, I lacked the benefits of hindsight. For instance, I focused on high culture, Beckett and Borges and Nabokov and Barthelme and Barth. I did not foresee then that postmodernism would become a media phenomenon, involving pop and kitsch. And I recognized the emergent process of globalization only in the Seventies, in Paracriticisms (1975).But I "slighted" the political only in the sense that I did not give it [End Page 224] priority, did not make it an "absolute horizon." In fact, I believe that a primary emphasis on politics flattens, impoverishes our lives. The current paradigm in the humanities ignores the inner cost of "politics."I: Forgive me, but that's another example of what some colleagues in the profession perceive as your contrary or cross-grained character. Can you explain why politics impoverishes our lives?H: Conformists—remember Harold Rosenberg's quip about "the herd of independent minds"?—are quick to discover perversity everywhere. But never mind that. The gravamen is that politics... (shrink)

In Finnegans Wake, the uncouth portmanteau word "Janglish" suggests a jangled kind of English. Joyce, of course, lived and died before that other uncouth word, "globalization," rode the waves of cyberspace. By resorting to a dubious conceit, I use "Janglican" to invoke American letters on the tongue of writers like Junot Diaz, Amy Tan, Aleksander Hemon, Ha Jin, Jhumpa Lahiri, Chang-rae Lee, among many others (including this writer, who speaks every language with an accent, a literary feat of sorts.)There's no (...) conceit in my subtitle, which moots the central question of this essay: can we still speak of national literatures—say, of American or Australian literature—in the age of globalization? (Concepts germane to .. (shrink)

In this paper a Knowledge-Based System (KBS) for determining the appropriate students major according to his/her preferences for sophomore student enrolled in the Faculty of Engineering and Information Technology in Al-Azhar University of Gaza was developed and tested. A set of predefined criterions that is taken into consideration before a sophomore student can select a major is outlined. Such criterion as high school score, score of subject such as Math I, Math II, Electrical Circuit I, and Electronics I taken during (...) the student freshman year, number of credits passed, student cumulative grade point average of freshman year, among others, were then used as input data to KBS. KBS was designed and developed using Simpler Level Five (SL5) Object expert system language. KBS was tested on three generation of sophomore students from the Faculty of Engineering and Information Technology of the Al-Azhar University, Gaza. The results of the evaluation show that the KBS is able to correctly determine the appropriate students major without errors. (shrink)

The Post-Modern Reader edited by Charles Jencks An Anthology of a World Movement Post-Modernism has been debated, attacked, and defended for a generation, but only in the last few years has it come into focus as a coherent way of thought embracing all areas of culture. This is the first anthology that presents the synthesising trend in all its diversity, a convergence in architecture and literature, film and cultural theory, sociology, feminism and theology, science and economics. It is however, a (...) synthesis with a difference; it is one which stresses a contested pluralism, the ‘dialogic' that underlies the growth of sciences as well as the development of other art forms such as the novel. Some of the key historical texts are reprinted in part - those of Daniel Bell on the post-industrial society and Jean-François Lyotard on the post-modern condition. The new cultural logic of contested pluralism is analysed in seminal papers by Andreas Huyssen and Jim Collins. The fundamental ideas on post-modern literature are defined by Umberto Eco, John Barth and David Lodge and the theories they present challenge the notion of post-modernism as an ultra avant-garde movement and the expression of a consumer society. New Cultural Theory Late Modernism Literature, Art, Architecture and Film Sociology, Politics and Geography Feminism Science and Religion Tito Arecchi, John Barth, Jean Baudrillard, Daniel Bell, Charles Birch, David Bohm, Jim Collins, Norman K Denzin, Umberto Eco, Edward Goldsmith, David Ray Griffin, Jürgen Habermas, David Harvey, Ihab Hassan, Linda Hutcheon, Andreas Huyssen, Charles Jencks, Heinrich Klotz, Hans Küng, David Lodge, Jean-François Lyotard, Robin Murray, Craig Owens, Paolo Portoghesi, Margaret Rose, Susan Rubin Suleiman, Edward W Soja. (shrink)

In the decade that followed 1972, the journal _boundary 2_ consistently published many of the most distinguished and most influential statements of an emerging literary postmodernism. Recognizing postmodernism as a dominant force in culture, particularly in the literary and narrative imagination, the journal appeared when literary critical study in the United States was in a period of theory-induced ferment. The fundamental relations between postmodernism and poststructuralism were being initially examined and the effort to formulate a critical sense of the postmodern (...) was underway. In this volume, Paul A. Bové, the current editor of _boundary 2_, has gathered many of those foundational essays and, as such, has assembled a basic text in the history of postmodernism. Essays by noted cultural and literary theorists join with Bové’s contemporary preface to represent the important and unique moment in recent intellectual history when postmodernism was no longer seen primarily as an architectural term, had not yet come to describe the wide range of culture it does now, but was finding power and place in the literary realm. These essays show that the history of postmodernism and its attendant critical theories are both more complex and more deeply bound with literary criticism than often is acknowledged today. _Early Postmodernism_ demonstrates not only the significance of these literary studies, but also the role played by literary critical postmodernism in making possible newer forms of critical and cultural studies. _Contributors_. Barry Alpert, Charles Altieri, David Antin, Harold Bloom, Paul A. Bové, Hélène Cixous, Gerald Gillespie, Ihab Hassan, Joseph N. Riddel, William, V. Spanos, Catharine R. Stimpson, Cornel West. (shrink)

This essay pursues Gilbert Durand’s plea for a new anthropological spirit that would overcome the bureaucracy-or-madness dichotomy which has since Nietzsche left its imprint upon contemporary thought, forcing it to choose between an “Apollonian” ontology established upon some kind of first principle and a “Dionysian” ontology consisting in the erasure of any founding norm. It does so by reclaiming Dionysus and Apollo’s original twin-ness and dual affirmation in dialogue with contemporary anthropological theory, especially Roy Wagner’s thesis on the interplay of (...) “elicitation” and “containment” in sociocultural life. What would happen then, I ask, if we were to reimagine today’s philosophical game – which after Heidegger Deleuze, and Derrida turns variously and increasingly around subtraction – otherwise: as a chiastic board on which Apollo would cut Dionysus’s continuum, which Dionysus would in turn restore despite Apollo’s cuts, and on which the obliteration of any of the two gods would entail the inevitable dismemberment of the other? Accordingly, I offer a full reassessment of Dionysus’s and Apollo’s complementary roles in ancient-Greek culture in discussion not only with Nietzsche’s Dionysian philosophy but also with Ihab Hassan’s postmodern critique of Orpheus. All of it less with the purpose of putting forward a new metaphysics than with the intent of restating the translucent-ness that keeps together reality and thought against any claim that they are either transparent or opaque to one another. (shrink)