Some 60 years separate us from Theodor W. Adorno’s “Theory of pseudo-culture.” Yet Adorno’s analysis might never have been as pertinent and as compelling as it is in the present moment. The dawn of the “post-truth” era, and the persistent impact of the culture industry on human sensibility and capacity for critical self-reflection, call for a return to Adorno’s critical theorisation of pseudo-culture. This paper revisits Adorno’s assessment of pseudo-culture and proposes a reconstruction (...) of some of his most compelling arguments on the subject in light of the present socio-historical circumstances. The paper starts with a concise discussion of the notions of Kultur, Bildung and Halbbildung in relation to Adorno’s thought. It then discusses the effects of pseudo-culture on human experience by looking into the role of opinions—in particular, what Adorno terms “delusional” opinions—in contemporary late capitalist reality. Finally, the paper ends with a juxtaposition of the barbarism of the banal and neoteric barbarism. I argue that, whereas the former stuns culture and impels it to regress to a state of pseudo-culture, the latter gives it new impetus by opening up new theoretical and practical paths. (shrink)

The works of Plato have been a cornerstone of Western philosophy for centuries, inspiring countless readers and thinkers over the course of millennia. But not all of the writings attributed to Plato are genuine. In this scholarly investigation, W.A. Heidel explores the origins and authenticity of some of these so-called 'pseudo-Platonic' texts, providing insights into the ways in which ancient cultures valued and appropriated the ideas of its greatest thinkers. This work has been selected by scholars as being culturally (...) important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

“Awak, and thenk on Cristes passioun!” So exclaims John the carpenter in the Miller's Tale, simultaneously performing the sign of the cross in his frantic efforts to stir Nicholas from a feigned trance. Then, babbling folk charms and prayers, John continues his attempts to wrestle the young astronomer free from supernatural forces, the “elves” and “wightes” he supposes have afflicted his boarder. Here the text of the urbane late-fourteenth-century Chaucer apparently reflects upon a tradition often considered characteristic of fifteenth-century devotional (...) literature and praxis, that is, “affective piety.” Tantalizingly, John's claims for the spiritually cathartic benefits of thinking “on Cristes passioun” parallel a construction used at the beginning of the Meditations on the Supper of Our Lord where the author states, “Whan þou þenkest þys [of Christ's Passion] yn þy þoʒt / Thyr may no fende noye þe with noʒt.” This kind of idea resonates throughout the pseudo-Bonaventuran tradition, a cluster of meditative literary treatments of the lives of Christ and Mary based on versions of the Latin Meditationes vitae Christi . The Privity of the Passion similarly promises “comforthe and gostely gladnes” to those who “with a besy thoghte … duell in it [the Passion].” The Middle English translation of the Meditationes de Passione Christi , a text that was probably composed during Chaucer's lifetime, is representative of the tradition in how it promotes thinking on Christ's Passion as a means of spiritual renewal. (shrink)

In Lucian's highly competitive and exhibitionist world, hyper-Atticism, the use of recondite, archaic words for the sake of impression, has become a sort of plague. In this article, I discuss how Lexiphanes focuses precisely on the literal and metaphorical associations of hyper-Atticism as a disease, by paying particular attention on the medical verdict - articulated in the text by Lucian's authorial double, Lycinus - that the dialogue's eponymous character suffers from melancholia. Rather than constitute a passing reference to the colloquial (...) vocabulary of insanity, melancholia, I argue, helps Lucian forcefully assimilate the accumulation of pretentious words to the raving of the insane, a non-sensical blabbering that is void of meaning. At the same time, Lucian aims also to expose the presence of melancholy in the cultural and medical idiom of his time as a disease that typically affects 'great spirits', people of exceptional intelligence. By calling Lexiphanes 'melancholic', Lucian scolds Lexiphanes' pretentiousness both as a hyper-Atticist and, no less importantly, as a pseudo-intellectual who is shaping his public image, temperamentally and physiognomically, as a genius whose atrabilious constitution entitles him to act and speak in strange ways. (shrink)

The protagonist of Edith Wharton’s 1904 short story “The Descent of Man” is both scien­tist and satirist. The target of his satire-“false interpreters” of evolutionary theory-allows Wharton to combine analysis of genre with inquiry into the cultural controversy Darwin’s ideas inspired. Anthropocentric anxieties explain popular preference for soothing “pseudo-science” over unsparing accounts of natural selection; they likewise explain widespread obtuseness to Professor Linyard’s ridicule of hazy illogic posing as science. Motivated more strongly by fitness interests than by allegiance to (...) scientific truth, however, the professor becomes complicit in widespread misreading of his own text. He thereby encourages the ignorance he intended to dispel, and Wharton highlights the ironies inherent in this self-sabotage. She insists that susceptibility to evolved adaptations is universal, moreover, and that it often impedes the discovery and promulgation of truth. (shrink)

The article reconstructs the false foundations of Soviet designs imaginable urbanization detects starting social places concepts of "classical" days of building socialism. Projected into the future the idea of permanent revolution, the destruction of "bourgeois barbarism" and desire the establishment of legal order Bolsheviks led the workers to the approval of a new type of state and the formation of a new anthropological type of person. This type - "eternal revolutionary", "architect of the new world" had to live with a (...) single purpose - to extend the principles of proletarian justice to the axis of the world. The epicenter of the factory or the formation of the new man was an industrial city - industrial zone heroically-miltarism work. The main method of the formation of cities and the new man was a total mobilization, the image of the antagonistic enemy of mythic-Titanic goal, collectively practice of collective responsibility, temporal-topeni the control of the state-party bodies the army-camp architecture, etc. The Communists sought to build the city for centuries, people, nomos chose to build incubators "eternal revolutionaries", the barracks of the unknown soldier or barracks devotees of "Stakhanovite". In the draft party not only needs to become an industrial base for future victories over bourgeois barbarism, but also a gathering place loyal fighters for a revolutionary breakthrough - the construction of communism all over the world. Social city - misguided or sinister space, which is not provided for the life of a healthy society. It is the fruit of pure nomos, state coercion, that denied cultural and national experiences, socio-economic patterns, cravings human being the ruins of the Communist concepts of permanent revolution and militarism of labor. The experience of the Communist daydreaming inspires the statement that as an axiom of the relationship of nomos and fuses in urban space is the right man for happiness. A key measure of their dialectical interaction is the reliance on the security and preservation of the integrity of human nature, national heritage, the experience of past generations. (shrink)

Critics, then, who label theories such as objectivism or deconstructionism as “authoritarian” or “subversive” are committing a fallacy of overspecificity. To call Hirsch’s theory authoritarian is to assume that such a theory lends itself to one and only one kind of political use and that that use can be determined a priori. To refute such an assumption, one need only stand back from the present in order to recall that today’s authoritarian ideology is often yesterday’s progressive one, and vice versa. (...) Indeed, there’s considerable historical irony in the fact that objectivism has now acquired the status of a right-wing idea, while Nietzsche and Heidegger have emerged as heroes of literary leftism. As recently as a few decades ago, these alignments were different. George Orwell, for instance, thought that the tendency to deny the possibility of objective truth reflected a totalitarian mentality. “Totalitarianism,” he wrote, “in the long run probably demands a disbelief in the existence of objective truth.” He added that “the friends of totalitarianism in this country tend to argue that since absolute truth is not attainable, a big lie is no worse than a little lie. It is pointed out that all historical records are biased and inaccurate, or, on the other hand, that modern physics has proved that what seems to us the real world is an illusion, so that to believe in the evidence of the senses is simply vulgar philistinism.”10It’s not that it hadn’t occurred to Orwell that the notion of objective truth could easily be used to justify the actions of tyrants and oppressors. But Orwell’s experience of Fascist and Communist falsification of history showed how the denial of the possibility of objectivity could also justify oppressive actions, perhaps in a more disarming way. For various historical reasons, Orwell’s insight is easily lost today. His is one of those Enlightenment concepts of truth which have been compromised in usage. As the Enlightenment has come to be associated not with progress, democracy, and equality but with the ideological exploitation of those concepts in the interests of social control, a great moral and political transvaluation of the epistemological vocabulary has occurred. Enlightenment thinking is frequently associated with the bourgeois complacency or the menacing technology of Western democracies or is identified with the totalitarian regimentation of the Soviet Union. Thus the concepts of objective truth, nature, essence, identity, and teleology have come to be viewed as conservative or reactionary ideas, as if these ideas had never operated, and never could operate, in quite other ways.11 10. George orwell, “The Prevention of Literature,” The Collected Essays, Journalism, and Letters of George Orwell, ed. Sonia Orwell and Ian Angus, 4 vols. , 4: 63-64.11. As Frederic Jameson has noted, “it is certainly the case that a belief in the natural is ideological and that much of bourgeois art has worked to perpetuate such a belief…. Yet in different historical circumstances the idea of nature was once a subversive concept with a genuinely revolutionary function, and only the analysis of the concrete historical and cultural conjuncture can tell us whether, in the post-natural world of late capitalism, the categories of nature may not have acquired such a critical charge again”. (shrink)

Women have for centuries suffered different forms of oppression and arguably continue to suffer in subtle forms in the 21st century. Marion Young points to five types of oppression, namely, violence, exploitation, marginalisation, powerlessness and cultural imperialism. For South African black women, all of these types of oppression have manifested three times more as they have suffered triple oppression of race, class and gender to employ the widely used notion of triple jeopardy in the womanist discourses and Black Theology of (...) Liberation. The struggle of women to challenge the patriarchal culture of subordination is still pertinent for our context today. Patriarchy is a reality that has been inscribed in the minds, souls and bodies of these women. It arguably continues to be inscribed in subtle forms. Patriarchy and the oppression of women have been justified and perpetuated by a complex interplay of Christian teachings and practices fused with culture and the use of the Bible. Yet, for these women, church and the Bible continue to be central in their lives. This article looks at the cries of African women in juxtaposition to their prayers, faith and thus spirituality, and to argue that theirs is a pseudo-spirituality. This article is thus a womanist exposition of the pseudo-spirituality of an African woman in a quest for liberation of her spirituality. (shrink)

Manussos Marangudakis traces the roots of environmental concern within both Left and Right political thought.1 He examines the anti-technological and occasionally authoritarian stances of Hamsun, Williamson, Haeckel and Heidegger, and their associations with National Socialism, and compares them to the more recent ideologies of Deep Ecology, Ecofeminism, Eco-Socialism and Social Ecology, and their politics of egalitarianism, equality and autonomy. He concludes that, insofar as ecologists have opted for nature as the prominent pole in the nature and culture divide, their (...) politics has become a pseudo-religion, with “the natural” providing the objective and transcendent source of a new politics and ethics:…. (shrink)

Philologus, founded in 1846, is one of the oldest and most respected periodicals in the field of Classics. It publishes articles on Greek and Latin literature, historiography, philosophy, history of religion, linguistics, reception, and the history of scholarship. The journal aims to contribute to our understanding of Greco-Roman culture and its lasting influence on European civilization. The journal Philologus, conceived as a forum for discussion among different methodological approaches to the study of ancient texts and their reception, publishes original (...) scholarly contributions with a strong international focus. Publications languages are: German, English, Italian, French. As of 2014 the publication of supplementary volumes will be resumed. The series Philologus. Supplemente / Philologus. Supplementary Volumes will publish monographs and edited volumes pertaining to all aspects of the study of ancient literature and its reception, with a special focus on topics concerning literary theory, philosophy and the history of scholarship from an interdisciplinary perspective. (shrink)

Interaction between humans and cats in urban environments is subject to dynamic change. Based on the frequency and quality of relations with humans, we can distinguish several populations of domestic cats : pedigree, pet, semi-feral, feral, and pseudo-wild. Bringing together theoretical perspectives of the Tartu school of biosemiotics and ethological studies of animal societies, we distinguish two basic types of cat cultures: the culture of street cats and the humano-cat culture of pets. The difference between these cultures (...) is documented on the level of zoosemiotic interactions, ecological relations, and human representations. We introduce a threefold model of human-animal interactions in urban environments which steer a careful course between the Scylla of realistic ontology and the Charybdis of social constructivism. A case study on Estonian cat shelters illustrates the significance of cultural representations and institutionalized actions in human-cat cohabitation. (shrink)

The pseudo-Aristotelian Mechanical Problems is the earliest known ancient Greek text on mechanics, principally concerned with the explanation of a variety of mechanical phenomena using a particular construal of the principle of the lever. In the introduction, the author (thought to be an early Peripatetic) quotes the tragic poet Antiphon to summarise a discussion of the techne-physis (art-nature) relationship and the status of mechanics as a techne. I argue that this citation of a poet is an Aristotelian cultural signature, (...) intended to guide its reader(s) towards a better understanding of the nature of mechanics as expounded in the Mechanical Problems. By analysing several instances where Aristotle cites Antiphon (as well as other tragic poets) in the Aristotelian corpus, I propose that both the author of the Mechanical Problems and Aristotle use poets for the purpose of persuasion. This is in turn explained by understanding the homologous relationship between mechanics-as-techne (according to the author of the Mechanical Problems) and poetics-as-techne (according to Aristotle) in terms of their shared status as poietike techne (productive art) and claims to universal knowledge. A final facet of the proposed relationship between mechanics and poetry is hypothesised on the grounds of their mimetic nature. (shrink)

Notre culture est atlantidienne par deux aspects : elle se veut insulaire, elle voue un culte au spectacle. Atlantide était aux Athéniens ce qu'Hollywood, Disney & Co sont au monde occidental. La crise relève d'une tension entre le spectacle et la vie, nous multiplions les tentatives de camoufler la crise dans un grand discours pseudo-culturel spectaculaire, par une pléthore de " créations " ou d'" événements " superficiels et dérisoires. Pendant des siècles, l'art et la science ont travaillé (...) de concert dans une même exigence de découverte. Aujourd'hui, l'art joue un rôle secondaire, tandis que le discours sur la consommation et le divertissement fait d'une société dominée par la science le meilleur des mondes possibles. Quelles en sont les conséquences pour l'art? Critiques, médias, artistes, publics : chacun des rouages de la machine est ici analysé avec brio. Il en résulte un essai indispensable à une meilleure compréhension du rôle de l'art dans une société prompte à envisager l'avenir en se persuadant d'avoir toujours " déjà " existé. (shrink)

I begin and conclude the article by arguing that culturalisation has contributed significantly to the decline of the Left and its universal ideals. In the current climate of public opinion, ‘race’ is no longer used, at least openly, as a scientific truth to justify racism. Instead, ‘culture’ has become the mysterious term that has made the perpetuation of racist discourse possible. ‘Culture’, in this newracist worldview, is the unquestioned set of traits continually attributed to the non-White Other, essentially (...) to de-world her Being and de-individualise her personhood. In other words, ‘culture’, as it is used in the old anthropological sense, is the magic incantation with which the Other is demonised, mystified, and/or ridiculously oversimplified. I focus on the phenomenon of ‘culturalisation’ as a common new-racist method of de-politicising the Other’s affairs and surrounding socio-political phenomena. The article is an attempt to discredit the paradigm of ‘culture’ as a pseudo-concept used commonly in cultural racism. This cultural racism routinely assumes ‘culture’ to be a natural given almost exactly as the pseudo-scientific paradigm ‘race’ was (and is still) used in some discourses of biological racism. If mentality X attributes categorical differences to different groups of people based on A and A is assumed to be natural, ahistorical, and/or metaphysical, then X is a racist mentality. Obviously, A does not have to be skin-color or ‘blood’ in order for X to be racist. (shrink)

Contextualization is a widely-discussed topic in the field of linguistics. Although it is generally agreed that contextualization is a dynamic process of interaction among the heterogeneous contextual factors, one still lacks a coherent explanation of how the interactions enable a language user to construct a meaningful text/utterance. From an Activity Theory perspective, language use can be termed as a rule-governed activity. The activity itself is the context of a subject’s decision-making, and contextualization is nothing but the actualization process of a (...) language use activity. During the process, the subject strategizes her/his linguistic choice to build the textual outcome in light of the hierarchical text functions, namely, the conventionalized and situational functions of prospective text, which respectively embody the social-cultural and situational factors constraining her/his actions, and the conventional function of textual tools, a foremost factor conditioning her/his operation. When there are contradictions among these functions, the subject needs to prioritize the one at a higher stratum. This can be exemplified by three typical cases of language use: translation, pseudo-translation and self-translation. (shrink)

Values formed in culture, reflecting social relations, fulfilling a regulatory role, are defined as norms fixed in the culture of society. Moral norms that combine such properties of morality as normativity, imperativeness and evaluativeness act as significant foundations of culture. Values and norms enshrined in culture contribute to the integration and spiritual development of society The transformational processes taking place in modern society have influence on the value system. The relevance of this study is determined by (...) the dialectic of emerging contradictions in modern Russian culture caused by the formation of ambivalent values, norms, and attitudes in mass culture that have a negative impact on collective consciousness, on changing the value foundations of culture in modern society, which jeopardizes the safety of culture. In the focus of the analyzed problem, kitsch culture as a phenomenon of mass culture acts as the subject of research. The purpose of the study is to identify threats to cultural security coming from kitsch culture, which transforms the value foundations of culture, and to identify strategies to protect Russian culture. The study of the voiced issues is carried out through the prism of socio-cultural, structural-functional, interdisciplinary approaches. The novelty of the studied problem lies in the fact that kitsch culture acts as a pseudo-culture, which is devoid of aesthetic and artistic value and moral content, as one of the sources that creates certain risks and poses threats to cultural security. In particular, we are talking about the organization of joint activities of government agencies, public organizations, scientific, cultural and educational spheres, based on the principles of optimizing the constructive impact on the consciousness of the younger generation through the mediation process and inculturation. (shrink)

This article investigates the Arabic tradition of the Problemata Mechanica, a Greek text of mechanics ascribed to Aristotle, of which it has often been said that Arabic classical culture had been ignorant of it. Against this prevailed claim, it is shown that the Arabo-Muslim scholars had access to the text at least in the form of an abridged version entitled Nutaf min al-iyal edited by al-Khāzinī in Kitāb mīzān al-ikma . The article includes the critical edition of the Arabic (...) text of the Nutaf on the basis of the two extant manuscripts and its English translation. Finally, the mechanical theory in the Nutaf is characterized briefly. (shrink)

This paper explores the context of a Hermetic frame story in the pseudepigraphical alchemical treatise The Book of the Ziziphus Tree of the Furthest Boundary. The treatise is attributed to a prominent figure in the Arabic occult sciences, Abū Bakr b. Waḥshīya. It was written in the form of a dialogue between the protagonist, Ibn Waḥshīya, and an alchemist from the Islamic West, al-Maghribī al-Qamarī. The last section of the introductory dialogue between these two characters consists of a frame story (...) on the origins of alchemy and a legend of discovery that introduces a cosmogony and an allegorical depiction of the process of transmutation. Both the frame story and the legend of discovery abound in Hermetic motifs and topoi known from other Greek and Arabic alchemical treatises. The exposition of the different prevailing theories on the beginnings of alchemy reflects, moreover, historical phenomena, such as the Graeco-Arabic translation movement and the shu‘ūbīya controversy. Consistent with the literary tradition of the Arabic Hermetica, Ancient Egypt emerges in this treatise as the cradle of alchemy; however, I suggest that more than merely literary convention, such evocations express a genuine fascination with Ancient Egypt and its surviving material culture. In this respect, the littleknown genre of Arabic books on hidden treasure might shed new light on common Hermetic narratives and their circulation in Arabic occult literature. (shrink)

One of the major problems (or sometimes pseudo-problems) that archaeologists and historians encounter in the study of ancient cultures is the need to differentiate and to identify the sources of the various concepts, techniques, institutions, forms, designs, motifs, etc., that, at any given moment of time, form the constituent elements of the culture or cultural product to which they have turned their attention; or—to pose the question in its proper framework—to analyse the process of cultural formation inherent in (...) the subject of their study. Such considerations have a special significance for archaeologists, whose essential concern is with the often incomplete assemblages of material remains left behind by the cultures and civilizations of the past, and whose central task is to enumerate and reconstitute the structures and processes that were operative in the societies in question. The study of acculturation—culture change, cultural diffusion, “stimulus diffusion,” culture contact, etc.—has been part of the theoretical and empirical concerns of anthropologists and sociologists since some decades ago, and the subject of an old and now almost abandoned debate. While the terminology of the social sciences concerned with living societies can also be found in archaeological and historical discussion, such concerns have had inadequate application in the fields of archaeological and historical practice. What has dominated and, to a great extent, continues to dominate historical studies is what we might call “the ‘theory’ of influence” and its corollary, “the migration hypothesis.” Thus, it would not be an exaggeration to say that one of the leading aspects of the study of a past society or culture is the concern with the “parent” culture(s) which influenced it, or the search for the location of its “migratory origins.” While this is especially true of studies relating to the societies of the Third World, it is not exclusively so—as we see, for instance, in the case of European prehistory. The immediate epistemological sources of such approaches are not difficult to identify, being principally located in 19th century diffusionism and, as we shall see shortly, in colonial ideology. (shrink)

La recepción del tratado Perì hýpsous en el pensamiento moderno y postmoderno ha enfatizado su condición de tratado de crítica literaria, hecho que ha contribuido decisivamente a encuadrar lo sublime en el ámbito de la estética. Sin embargo, una lectura contextualizada de la obra permite apreciar el valor pedagógico del concepto y su finalidad como elemento que contribuye a la fijación, a través de los textos literarios, de unos valores morales y políticos necesarios para la reproducción de la cultura. The (...) reception of the treatise Perì hýpsous in modern and postmodern thought has emphasized its status as a treatise on literary criticism, a fact that has decisively contributed to frame the sublime in the field of aesthetics. However, a contextualized reading of the work makes possible to appreciate the pedagogical value of the concept and its purpose as an element that contributes to establish, through literary texts, moral and political values necessary for the reproduction of culture. (shrink)

This article deals with socio?cultural ethical relativism. An attempt is made to analyze an ethical relativistic statement, i.e. a statement which, prima facie, ascribes different value?qualities to the same type of conduct, depending on the society in which it occurs. The conclusion arrived at is that, in the main, such statements do not express genuine relativism. On the other hand, views which can be regarded as genuinely relativistic, arc found to lack plausibility.

Name der Zeitschrift: Der Islam Jahrgang: 94 Heft: 2 Seiten: 556-562.

Although film for Adorno is first and foremost the principal agent of culture industry, he takes on an equivocal stance towards the medium and its aesthetic potentials for reasons inherent to the medium itself. Indeed, its disinterested recording of the empirical world leads to both, a semblance of immediacy easy to instrumentalize for propaganda or advertising purposes, and a non-subjective access to the world of objects, which disclose their societal imprint. Despite (or because of) its technological basis, film is (...) inherently concerned with the society it both mediates and addresses, and has to be understood as a collective medium in either of its formats: commercial productions, because they address the masses (which they manipulate and distract from reality’s inherent antagonisms by reproducing pseudo-realistic, stereotypical representations in a totalitarian manner), independent films, because they unearth something non-identical nestled in the folds of the ideological totality, through a montage “which does not interfere with things but rather arranges them in a constellation akin to that of writing”. This article aims to deploy the complex constellation through which Adorno approaches film, its embedding in the capitalist world, its inherent aesthetic force and its complicated relation with the reality it mediates. (shrink)

From Single Sign to Pseudo-Script: An Ancient Egyptian System of Workmen’s Identity Marks. By Ben Haring. Culture and History of the Ancient Near East, vol. 93. Leiden: Brill, 2018. Pp. ix + 291. $216, €171.

Name der Zeitschrift: Der Islam Jahrgang: 93 Heft: 2 Seiten: 583-584.

Preview: Culturology is a relatively new science and discipline, which is known by its name primarily in Eastern Europe (in Western Europe – Cultural studies). The origin of culturology as a science of culture dates back to the middle of the twentieth century. In the Soviet Union, culturology was not declared a bourgeois pseudo-science, but the attitude toward it was wary – because of its inevitable philosophical claims. Therefore, in fact, it was subjected to philosophical emasculation and reduction, (...) which led to its perceptible provincialism, a backwardness that is not easily overcome. It should be noted that Ukrainian culturology could not yet boast of such achievements and such a role in the intellectual life of society as Western cultural studies of the 20th century. However, it existed and had its achievements of both a general theoretical and a practical level. It was uppermost developed by philosophers in the twentieth century. Today, culturology seeks to answer the questions that arise from the obvious crisis of the human world, the loss of meaningful reference points, and the instrumentalization of human development. (shrink)

Name der Zeitschrift: Der Islam Jahrgang: 93 Heft: 1 Seiten: 35-64.

In 1996, Alan Sokal, a Professor of Physics at New York University, wrote a paper for the cultural-studies journal Social Text, entitled: 'Transgressing the Boundaries: Towards a transformative hermeneutics of quantum gravity'. It was reviewed, accepted and published. Sokal immediately confessed that the whole article was a hoax - a cunningly worded paper designed to expose and parody the style of extreme postmodernist criticism of science. The story became front-page news around the world and triggered fierce and wide-ranging controversy. -/- (...) Sokal is one of the most powerful voices in the continuing debate about the status of evidence-based knowledge. In Beyond the Hoax he turns his attention to a new set of targets - pseudo-science, religion, and misinformation in public life. 'Whether my targets are the postmodernists of the left, the fundamentalists of the right, or the muddle-headed of all political and apolitical stripes, the bottom line is that clear thinking, combined with a respect for evidence, are of the utmost importance to the survival of the human race in the twenty-first century.' The book also includes a hugely illuminating annotated text of the Hoax itself, and a reflection on the furore it provoked. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Who Needs Classical Music? Cultural Choice and Musical Value by Julian JohnsonWilliam M. PerrineJulian Johnson, Who Needs Classical Music? Cultural Choice and Musical Value. Oxford University Press, 2002.In Who Needs Classical Music? Cultural Choice and Musical Value, British musicologist and composer Julian Johnson defends the value of classical music in a commercialized culture fixated on the immediate gratification of popular music. At 130 pages divided into six (...) chapters, Johnson’s book is a reasonably accessible and engaging presentation of his topic. This short book contains relevant and sometimes controversial insights of interest to professional music educators. In this review I will provide a brief summary of the author’s primary arguments accompanied by critical commentary.Johnson argues that commercial forces in our society limit serious reflective discourse on music. The marketplace treats music as a commodity which derives its value from relative commercial success. In this context, classical music is relegated to one possible cultural choice among many legitimate options and is in danger of losing its distinctive features as an art form that transcends commercial concerns. Preference for particular musical products becomes an identity marker for an individual’s place within society, and criticism of a particular style of music is perceived as a personal attack. The process of turning classical music into a commodity has been aided by critics who have condemned the Western [End Page 96] canon as elitist, patriarchal, and arrogant. These critics have instead advocated a democratization of culture, placing greater emphasis on the validity of popular art forms and active participation in music-making rather than the more passive contemplation. Johnson describes this as a “pseudo-democratic” attack which encourages downward social mobility. When combined with the omnipresence of commercial culture, this approach undermines individual musical value by assuming the equal validity of all aesthetic judgments. Democracy is damaged when, refusing to discriminate between cultural products, society fails to recognize human individuality and excellence.Johnson is at his strongest when he argues for the importance of classical music fulfilling its function as art. The author argues that different types of music fulfill different functions. In contemporary society music is valued and chosen for how it is used. Music is described as “good” when it functions to provide background music for activities or when it successfully complements or enhances the listeners’ moods. Focusing solely on social use or reception, however, tends to neglect objective differences in the formal structure of music. This is the point at which Johnson begins to distinguish between classical and popular music. Popular music is composed to ensure a uniformity of affect, and deliberately avoids formal or harmonic complexity. As an aspect of popular culture, it is tied to contemporary fashion trends and rapidly becomes obsolete. Like other types of fashion, music becomes a means for expressing a current position within a larger social and cultural space. It is the music of youth; its commercial saturation of the culture blurs the boundaries between youth and adulthood. Johnson claims that the process of commercialization leads to a bland standardization. Classical music can also function as a type of popular music when it submits itself to market processes, but in doing so the music loses its distinctive features.In his discussion on popular music, Johnson presents what might be his most controversial claim: that popular music serves a pornographic function. He defines pornography as “the process by which the humane is reduced to the status of things” (p. 59) and argues that popular music takes pleasure in debasing humanity by reducing individuals to material commodities and denying the spiritual. This contention echoes Allan Bloom’s concern in The Closing of the American Mind that rock music desensitizes and debases youth by destroying imagination and deadening their capacity for passion and wonder. The strength of this language undermines Johnson’s contention in his introduction to the paperback edition that he is not trying to set up a binary opposition between art and popular music in which the classical is “better.” Moreover, if pornography is a form of dehumanization and is a legitimate concern in music, it is important to point out that such a charge is not exclusive to... (shrink)

Improvising selected tools from Kress and Van Leeuwen’s inter-semiosis framework, this study explores how, between global and local, TV commercials in India often reframe a cultural third space producing new discursive forms and identities. Three commercials from the food and beverage category are selected on the basis of the country of origin of the endorsing company and the patterns of glocalization. Multimodal discourse analysis reveals that the commercials construct the glocal identity in several ways. In the Knorr Soups commercial, the (...) melody of the title song is contemporary pop, whereas the delivery style and crooning are distinctively Western. The language is predominantly Hindi with deft use of selected English words. The Funda Mint commercial casts a rebel voice-support executive who rejects the pseudo-glocal identity and asserts his true identity. In the Cadbury Bournvita Folk commercial, the two boys represent the global and the local in the realm of creativity. The study advances the knowledge of product positioning and brand identity involving the intersemiosis of discursive elements from different cultural spaces within the contemporary Indian consumerist culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics, Education, the Critical Autonomous Self, and the Culture IndustryMarianna Papastephanou (bio)IntroductionE Lucevan le Stelle disconnected both from Tosca and Puccini becomes incidental music and brings strong recollections of the detergent advertisement it once coated. Last Year in Marienbad has caused some of the deepest yawn relief to many hopefuls for the title of the sophisticated who wished to cash out the film's cultural and social capital. A (...) painting by a well-known artist in the living room of a middle-upper-class residence often matches the colors of the carpet, and a piece of African art in the corner testifies to the hosts' cosmopolitan respect for otherness and the proper dose of hybridity in their selfhood. The young of the family are said to search for freedom from the puritan lifestyle in Ecstasis. Or, they rebel against the oppressive order of the system through idolizing music bands of an unconventional style and, as a matter of fact, of "unconventional" wealth accumulated precisely through the systemic exploitation of their idolization. The whole family, including the discontented young, will unite in the enjoyment of a new movie in which, just as in hundreds before it, police detectives can solve cases only after their suspension from duty and foreigners prefer to converse in perfect English when they are alone. What all members of the family are sure of by the end of the day, some of them through the prism of heavy drinking and others in the sober appreciation of the latest reality show, is that they exercised once again their free will in all instances. For they oriented their desires, treated as natural and self-posited, to objects they initially lacked but "autonomously" and "critically" found and selected from a rich and all-encompassing marketplace of culture. [End Page 75]How are art, its education, and its educational ideals of autonomy and critique related to this particular cultural reality that I have highlighted? Pseudo-individualism, escapism, Ersatzbefriedigung, fetishization, reification, and educationalization are some of the terms Adorno employed to approach the reality of artistic production and reception in capitalist times while preserving the distance that art offers for critiquing reality.1 In contrast with the above-sketched reality, in Adorno's ultimate aesthetic vision through art the self is not supposed to "forget in dreams the present world, but to change it by the strength of an image."2 Adorno attacks the drive toward a "totally administered" society—that of late capitalism—which "reduces every aspect of present-day life to the dead level of conformist popular 'taste' as dictated by a wholesale culture industry given over to the purposes of mass indoctrination."3 Fundamentally, the culture industry hinders the formation of autonomous, critical, and independent individuals.4I shall argue that such a theoretical framework gives us additional insight through which to combat what has already been perceived in pedagogical discourse as educational inability to cultivate reflective and critical subjectivities. Instead of autonomy, education nurtures narcissism. and instead of critique, it promotes appeasement5 —all the more so when education succumbs to the culture industry or fails to encourage students' critical stance to its imperatives.My position here is that by reclaiming their own valuable connection to reflective artistic experience and reception, aesthetic theory and art education can contribute to a reconceptualization of autonomy and critique and, perhaps more importantly, to a reorientation of educational practice.6 Adorno's aesthetics is exceptionally relevant to this aim because his work exemplifies in a unique way the necessary awareness of the antinomic qualities of autonomy and critique, their ineluctable dependence on society and culture, and their secret culpability in domination. Moreover, Adorno's cultural criticism comprises an unsurpassable diagnosis of those social pathologies that leads away from critical and reflective subjectivity and offers conceptual means for setting a critical eye on some current impoverished practices of teaching art. Above all, Adorno's aesthetic theory displays a remarkable topicality regarding contemporary positions on purely artistic concerns and contentions. Thus, the current neglect of his work in aesthetic educational theory7 must be dealt with since accommodation of such aesthetics within art educational discourse will serve significantly the latter's... (shrink)

One can read the history of kitsch and the history of kitsch theories by accentuating either everyday aesthetics (knickknacks) or pseudo art/bad art. The authors have divided their introduction to the topic by accentuating first everyday aesthetics (this part includes a detailed history of kitsch research) and then art—especially the wave of contemporary art that has lately been knocking on the doors of kitsch. Three historical stages of kitsch are discussed. The first stage discusses the topic and gives (e.g., (...) bad, sentimental art and interior design) negative attention only. This phase ends with Clement Greenberg’s essay “Avant-Garde and Kitsch” (1939). The second wave discusses kitsch in a curious manner, mainly around the 1960s. And the contemporary stage of the discussion is often positive (starting from the 1990s). In the part where contemporary art is analyzed, art’s kitschy side is traced historically to the Dutch art market of the seventeenth century. But today’s art world, which is strongly invaded by kitsch, gains the main attention. How did kitsch become so central to contemporary art? What forms has it taken there? (shrink)

“Esotericism” refers, more or less, to what used to be called “the occult.” It comprises such matters as astrology, alchemy, kabbalism, magic, and theosophy—to name just a few. In other words, it refers to just about everything that came to be marginalized in the modern period as “superstition” and “pseudo-science,” and anathematized by scientists and philosophers. In recent decades, there has been an explosion of scholarly interest in esotericism, partly because of research revealing that many “canonical” scientists and philosophers (...) of the past were strongly interested in these “irrational” currents. The philosophers include Leibniz, Kant, Hegel, Schelling, and Schopenhauer; the scientists include Newton. Such .. (shrink)