Dec 2017 Flashcards

1
Q

race

A

The biological, physiological, or genetic classification of humans according to distinctive features of physical appearance such as skin colour, shape of face, hair colour, body morphology. It is generally used in a binary fashion to identify both a superior race and an inferior race. Throughout history, but especially since the rise of the African slave trade, the concept of race has been of concern to western political thinkers, who use it to justify and legitimate the invasive, exploitative, and predatory actions of their governments. In critical theory, race is thus treated as a problematic term whose history is instructive because it shows how power and ideology combine to facilitate the unjust and unequal treatment of others by hegemonic powers. Recent scholarship in postcolonial studies has demonstrated that race is an important issue for non-western political philosophy as well. Because of its associations with colonialism, eugenics, and slavery, race has not been used in an affirmative sense in critical theory since the 1970s, when affirmative terms such as négritude began to lose their currency. It has been replaced by ethnicity in this regard.

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2
Q

real

reel

A

One of the three ‘orders’ structuring human existence, according to French psychoanalyst Jacques Lacan (the other two are the imaginary and the symbolic). The real is that which resists representation absolutely. It is in this sense impossible to imagine for itself (if we could imagine it, we could represent it). As such, it is impossible to integrate into the symbolic order, which means—somewhat paradoxically—that the real is in fact opposed to reality. Therefore our encounter with the real is always traumatic.

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3
Q

syncretism

A

A movement aimed at establishing a harmony between apparently opposing positions in philosophy or theology.

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4
Q

Saussure, Ferdinand de

A

Swiss linguist, one of the founders of semiotics and a crucial influence on the development of structuralism. Born in Geneva, Saussure studied in Leipzig, Berlin, and Geneva. He taught in Paris for several years, before taking the chair of linguistics at the University of Geneva. He only published one work in his lifetime, a massive study of the vowel system in Indo-European languages, which appeared in 1878. However, it is the lecture courses he gave between 1906 and 1911, assembled from student notes by his former students and published posthumously as Cours de linguistique générale (1916), translated as Course in General Linguistics (1959), which brought him lasting fame. Saussure and his students are sometimes referred to as the Geneva School. Although trained as a philologist, Saussure realized that the history or etymology of particular words does not explain either their actual origin or their contemporary meaning. This observation gave rise to two crucial hypotheses: first, that the association of a particular sound and a particular word and its meaning is arbitrary (there is no intrinsic reason that the word for the object we call a bat should either be bat or sound like ‘bat’); second, these arbitrary choices are governed by a general system of meaning-making that is universal(i.e. common to every language). This distinction between language as it is used (parole) and its rules of use (langue) underpins the entire so-called structuralist revolution. Taking this langue/parole distinction a step further, Saussure argued that the spoken word has to be considered a sign comprising two elements—signifier and signified—which, in a famous phrase, he said were like opposite sides of a single sheet of paper. The signifier is the actual acoustic sound, e.g. ‘bat’, which must be distinguishable from other sounds and repeatable, while the signified is the concept we arbitrarily associate with that sound (bearing in mind that different languages can associate different concepts with ostensibly the same sounds). What is important to note here is that Saussure does not define the signifier as pointing to a thing in the world (referent). Structuralism was born from the intuitive leap made by people like Claude Lévi-Strauss (in anthropology) and Jacques Lacan (in psychoanalysis) that other human constructed systems—kinship, the unconscious, films, and so on—could be seen to behave ‘like a language’ in this respect.
Further Reading:
J. Culler Ferdinand de Saussure (1986).

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5
Q

risk society

Risikogesellschaft

A

German sociologist Ulrich Beck’s term for the present situation (which in Beck’s view began to take shape in the aftermath of World War II), which in his view is defined by the expansion of uncontrollable risks, i.e. risks which have no straightforward or direct cause and therefore no obvious or easy means of attenuation (climate change is the best-known example of such a risk). Beck is particularly concerned with new types of risk that have arisen—or may arise in the future—as a consequence of human action. The issue is not so much that the world has become inherently more dangerous than it used to be, although that is in fact one of the implications of Beck’s thesis, but rather that the nature of the threats we face now has changed—they have become, in Beck’s terms, ‘de-bounded’ in spatial, temporal, and social terms: risks are no longer bound by regional or even national boundaries, but are frequently global in scope; risks may have long latency periods such that the actual cause of particular threats may lie in the distant past or as is the case with nuclear material may stay with us for thousands of years; and because of these spatial and temporal unboundings it has become difficult to assign responsibility in a legally relevant fashion. Although global in scope, risks plainly do not affect everyone and every part of the world equally—e.g. as catastrophic as Hurricane Katrina was for New Orleans in 2005, it caused nowhere near as much misery as hurricanes routinely cause in much poorer countries like Haiti, which lack the resources to defend against natural disaster, and what damage it did cause was the fault of failed human-made structures rather than nature. As the case of Hurricane Katrina made abundantly clear, the real problem with respect to risk is that decisions affecting the types of threat we face and the possible responses that might be made to address them have become ‘sub-political’, consigned to the essentially unaccountable realms of bureaucracy and business where the people most affected by these decisions are unable to have any direct input.
Further Reading:
U. Beck Risikogesellschaft: Auf dem Weg in eine andere Moderne (1986), translated as Risk Society: Towards a New Modernity (1992).

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6
Q

repressive tolerance

A

The passive acceptance of social and governmental practices, policies and actions which restrict freedom in an absolute sense. The Frankfurt School theorist Herbert Marcuse coined the term in an essay of that title for a book co-written with Robert Wolff and Barrington Moore, Critique of Pure Tolerance (1965). Repressive tolerance, Marcuse argues, takes two main forms: (i) the unthinking acceptance of entrenched attitudes and ideas, even when these are obviously damaging to other people, or indeed the environment (the painfully slow response to warnings about climate change and environmental degradation might be seen as an example of this); and (ii) the vocal endorsement of actions that are manifestly aggressive towards other people (the popular support in the US and the UK in the aftermath of 9/11 and 7/7 for the respective government’s attempts to override or limit habeas corpus is a clear example of this). Genuine tolerance, Marcuse argues, can only exist in a situation of intolerance for these limits on real freedom. Slavoj Žižek’s books Violence (2008) and In Defence of Lost Causes (2008) continue and update this line of thought.

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7
Q

Reich, Wilhelm

1897-1957

A

Austrianpsychoanalyst whose combination of Marxism and psychoanalysis influenced a generation of political activists and writers in Europe and the US. In later life, he became an extremely controversial figure because of his rather eccentric views. He was prosecuted by the Food and Drug Administration (FDA) in the US and died in prison.
Reich was born in Dobrzanica, which is now in the Ukraine but was then an outer satellite of the Austro-Hungarian empire. His family were wealthy farmers (a fact that he would later credit with sparking his interest in the study of sex), and although of Jewish descent they disavowed their cultural heritage. Reich was home-schooled by a private tutor until he was 12, when his mother committed suicide. He was then sent to a boys’ school. After the outbreak of World War I, when the Russians invaded in 1915 Reich and his brother fled to Vienna, losing everything. He joined the army in 1915 and served until the end of the war. He then studied medicine at the University of Vienna, where he met Sigmund Freud who invited him to join his Psychoanalytic Association while he was still a student.
He set up private practice as an analyst in 1922. Over the next few years he wrote what is probably his best known and arguably his most important work, Die Funktion des Orgasmus: Zur Psychopathologie und zur Soziologie des Geschlechslebens (1929), translated as The Function of the Orgasm: Sex-Economic Problems of Biological Energy (1968). It was this work, perhaps not surprisingly, that caught the attention of writers like William Burroughs and Norman Mailer who, in their turn, popularized Reich’s work for the counter-culture generation.
In 1930 he moved to Berlin and joined the Communist Party of Germany (KPD). He was witness to the rise of Nazism in Germany, which he theorized in Die Massenpsychologie des Faschismus (1933), translated as The Mass Psychology of Fascism (1980), by asking the question: why did the masses turn towards an authoritarian party even though it was manifestly not in their interest to do so? His somewhat simplistic, but nevertheless suggestive answer was that sexual suppression in childhood prepared people for authoritarian rule in later life. Reich was expelled from the KPD for this book, as a liability to their cause, and when the Nazis came into power it was immediately banned and he was forced to flee the country. He moved to Scandinavia, but was forced to move again, this time to the US, when World War II broke out.
In the US he extended the work begun in Norway, namely his search for the origins of life. He claimed to discover an observable energy he called ‘orgone’, which he said was the source of life itself. Although his scientific methods and procedures were questioned in his lifetime by scientists as eminent as Albert Einstein, Reich was unshakeable in his conviction that he had discovered the beginnings of life itself. He created ‘orgone accumulators’ designed to collect and concentrate this ‘cosmic’ energy so that it could be used to such beneficial ends as healing the sick. Unfortunately for him, Reich sold ‘orgone accumulators’ to mail-order customers and this attracted the attention of the FDA. An injunction was taken out in 1954 to prevent him from shipping his apparatuses across state lines, but he refused to comply with the order. And though he sent the judge presiding over his case copies of his books, he was found to be in contempt and given a two-year sentence.
Further Reading:
R. Corrington Wilhelm Reich: Psychoanalyst and Radical Naturalist (2003).

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8
Q

semantic field

A

A group of words that are interrelated because of their common point of reference. For example, ‘object’, ‘desire’, ‘drive’, and ‘lack’, are all words belonging to the semantic field of Lacanian psychoanalysis.

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9
Q

Philo of Alexandria
Philo Judaeus
(c. 20 BC-C. AD 50)

A

Hellenistic philosopher. Philo was a member of a prominent Jewish family of Alexandria, and inaugurated the Islamic, Jewish, and subsequent Christian traditions of reconciling scripture with the teaching of the classical Greek philosophers. In particular, he believed that the early books of the Old Testament, properly interpreted, were allegories which wrapped essential philosophical truths in their tales of gross human happenings. His guiding principle was that Moses was a great Middle Platonist philosopher.

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10
Q

Justinian

ad 482–565

A

Roman emperor from 527 until his death. Justinian’s philosophical problems centred on the monophysite heresy, although his wife, the ex-actress Theodora, was a monophysite and Justinian eventually became one. He is remembered more for the great codification of Roman law, the million-word Codex Justinianus, first promulgated in 529.

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11
Q

environmental ethics

A

Most ethics deals with problems of human desires and needs: the achievement of happiness, or the distribution of goods. The central problem specific to thinking about the environment, is the independent value to place on such things as preservation of species, or protection of the wilderness. Such protection can be supported as a means to ordinary human ends, for instance when animals are regarded as future sources of medicines or other benefits. But many would want to claim a non-utilitarian, absolute value for the existence of wild things and wild places; it is in their very independence of human lives that their value consists. They put us in our proper place, and failure to appreciate this value is not only an aesthetic failure but one of due humility and reverence, a moral disability. The problem is one of expressing this value, and mobilizing it against utilitarian arguments for developing natural areas and exterminating species more or less at will. See also nature, sublime.

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12
Q

sublime

A

A concept deeply embedded in 18th-century aesthetics, but deriving from the 1st century rhetorical treatise On the Sublime by Longinus. The sublime is great, fearful, noble, calculated to arouse sentiments of pride and majesty, as well as awe and sometimes terror. According to Alexander Gerard, writing in 1759, ‘When a large object is presented, the mind expands itself to the extent of that object, and is filled with one grand sensation, which totally possessing it, composes it into a solemn sedateness and strikes it with deep silent wonder and admiration: it finds such a difficulty in spreading itself to the dimensions of its object, as enlivens and invigorates its frame: and having overcome the opposition which this occasions, it sometimes imagines itself present in every part of the scene which it contemplates; and from the sense of this immensity, feels a noble pride, and entertains a lofty conception of its own capacity.’ In Kant’s aesthetic theory the sublime ‘raises the soul above the height of vulgar commonplace’. We experience the vast spectacles of nature as ‘absolutely great’ and of irresistible might and power. This perception is fearful, but by conquering this fear, and by regarding as small ‘those things of which we are wont to be solicitous’ we quicken our sense of moral freedom. So we turn the experience of frailty and impotence into one of our true, inward moral freedom as the mind triumphs over nature, and it is this triumph of reason that is truly sublime. Kant thus paradoxically places our sense of the sublime in an awareness of ourselves as transcending nature, rather than in an awareness of ourselves as a frail and insignificant part of it. Most mountaineers and sailors disagree. See also environmental ethics.

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13
Q

monophysite

A

The doctrine that in the person of Jesus Christ there was but one, divine, nature, rather than two natures, divine and human. A point of dispute between the Coptic and Abyssinian churches, which accept the doctrine, and Roman Catholicism, which denies it in favour of the opposing, dyophysite doctrine of two natures.

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14
Q

nature

A

An indefinitely mutable term, changing as our scientific conception of the world changes, and often best seen as signifying a contrast with something considered not part of nature. The term applies both to individual species (it is the nature of gold to be dense or of dogs to be friendly), and also to the natural world as a whole. The sense in which it applies to species quickly links up with ethical and aesthetic ideals: a thing ought to realize its nature; what is natural is what it is good for a thing to become; it is natural for humans to be healthy or two-legged, and departure from this is a misfortune or deformity. The association of what is natural with what it is good to become is visible in Plato, and is the central idea of Aristotle’s philosophy of nature. Unfortunately the pinnacle of nature in this sense is the mature adult male citizen, with the rest of what we would call the natural world, including women, slaves, children, and other species, not quite making it.
Nature in general can, however, function as a foil to any ideal as much as a source of ideals: in this sense fallen nature is contrasted with a supposed celestial realization of the forms. The Galilean world view might have been expected to drain nature of its ethical content, but the term seldom loses its normative force, and the belief in universal natural laws provided its own set of ideals. In the 18th century, for example, a painter or writer could be praised as natural, where the qualities expected would include normal (‘universal’) topics treated with simplicity, economy, regularity, and harmony. Later on, nature becomes an equally potent emblem of irregularity, wildness, and fertile diversity, but also associated with progress and transformation (see absolute idealism, Romanticism). Contrasts with nature may include
(i) that which is deformed or grotesque, or fails to achieve its proper form or function, or just the statistically uncommon or unfamiliar;
(ii) the supernatural, or the world of gods and invisible agencies;
(iii) the world of rationality and intelligence, conceived of as distinct from the biological and physical order;
(iv) that which is manufactured and artificial, or the product of human intervention;
(v) related to that, the world of convention and artifice.
Different conceptions of nature continue to have ethical overtones: for example, the conception of ‘nature red in tooth and claw’ often provides a justification for aggressive personal and political relations, or the idea that it is women’s nature to be one thing or another is taken to be a justification for differential social expectations. Here the term functions as a fig-leaf for a particular set of stereotypes, and is a proper target of much feminist writing. See also Darwinism, environmental ethics, natural law, Naturphilosophie, sociobiology.

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15
Q

Lacan, Jacques

1901-81

A

French psychoanalyst and founder of École Freudienne de Paris. Undoubtedly the most influential psychoanalyst after Freud, Lacan combined psychoanalysis with semiotics to produce a powerful theoretical synthesis that had an enormous influence over almost the whole field of the human and social sciences, though nowhere more so than in film studies where it became a virtual doctrine. Today, Lacan’s work continues to exert a strong influence thanks to the tireless efforts of followers, particularly Slavoj Žižek.
The son of a wealthy merchant family, Lacan was raised a Catholic and educated at the same school as future French President Charles de Gaulle. He studied medicine and psychiatry at university but took an active interest in the arts as well. As a student, he met the SurrealistsAndré Breton and Philippe Soupault and he heard James Joyce give readings of Ulysses (1922) at the famous Paris bookshop Shakespeare and Co. He read Nietzsche in the original German and in 1923, at the tender age of 22, he encountered Freud’s theories.
It took several years, however, for Freud to become the focal point of Lacan’s interests. It was his reading of the Spanish Surrealist Salvador Dalí’s provocative essay ‘L’Âne pourri’ (The Rotten Donkey) that paved the way by suggesting a new way of thinking about the connection between the mind and language and shifting his focus of attention from hysteria to psychosis. Dalí argued that paranoid delusions are not errors of perception, but creative interpretations of reality that have their own distinctive logic. While Dalí developed this thesis into a method he termed critical paranoia, Lacan set about rethinking what paranoia meant in clinical terms. The first fruit of this labour was his PhD thesis, De la psychose paranoïaque dans ses rapports avec la personnalité (Paranoid psychosis and its relation to personality), defended in 1932. Although Lacan scrupulously avoided any mention of his Surrealist inspiration in his thesis so as not to put off the medical establishment, it was the Surrealists rather than the psychiatric community who first recognized its brilliance.
For the next four years, as part of his training as a psychoanalyst Lacan underwent analysis with the Jewish-Polish exile Rudolph Loewenstein, during which time he wrote very little. In 1936 he began attending the seminars of the Russian émigré philosopher Alexandre Kojève who together with his countryman Alexandre Koyré introduced Hegel’s thought to an entire generation of French scholars. Following Kojève Lacan recognized the distinction between an ‘I’ that thinks and an ‘I’ that wants, and this became the basis of his renovation of psychoanalysis as a philosophy of desire. Lacan’s first major statement to this effect, which after a stumbling start was to be his entrée to the world stage as a major psychoanalyst, occurred in 1936 at the International Psychoanalytical Association (IPA) congress in Marienbad. Lacan presented the first version of his paper on the mirror stage, arguing that the child’s sense of self is based upon a misrecognition (‘méconnaissance’). The child sees the image of itself in a mirror and says ‘that’s me!’ even though in actuality it is merely a reflection. By this means the child attains an imaginary mastery over self. This insight would later be taken up by the French Marxist Louis Althusser in his rethinking of the concept of ideology.
During World War II, Lacan worked as a military psychiatrist, writing nothing for the duration of hostilities. He maintained his hand in the field by corresponding with Melanie Klein, Michael Balint, D. W. Winnicott, and others, but increasingly found himself at odds with them. After the war, Lacan’s profound disagreements with his peers in France and abroad over theoretical issues as well as his refusal to desist from his controversial practice of shortening analytic sessions to as little as 10 minutes instead of the IPA prescribed 60 minutes resulted in his being ostracized by a large proportion of the professional psychoanalytic community. In 1964, he founded his own group, École Freudienne de Paris (The Freudian School of Paris), and broke definitively with both the national and international psychoanalytic statutory bodies. The membership list of this new school reads as a virtual who’s who of French theory—it includes such as figures as Michel de Certeau, Félix Guattari, and Luce Irigaray. Shortly before his death Lacan unilaterally dissolved the École Freudienne de Paris.
Lacan’s published output in his own lifetime was comparatively small. He never wrote a straightforward or complete account of his theory. He developed it in a peripatetic fashion through interventions at conferences and his weekly seminars. In 1966 a large collection of his conference papers running to some 900 pages was published under the bland title of Écrits (the English translation is published under the same title). In spite of its unwieldy size it sold 5,000 copies in two weeks, which is unheard of for such an abstruse work. In the main, however, Lacan’s thought has been disseminated via the haphazard publication of his seminars edited by his son-in-law Jacques-Alain Miller. The product of transcriptions of Lacan’s actual seminars and subject to variable editorial control, these books are both stimulating and frustrating, as rich in ideas as they are elusive in their explanations of those ideas. Sadly, less than half of the seminars are available in this form, but bootleg versions abound. Lacan’s writing is notoriously difficult and it is probably best to approach his work via an expert guidebook.
Lacan’s version of psychoanalysis is distinctive for its emphasis on the concept of lack (‘manque’). According to Lacan, having is never sufficient by itself to extinguish wanting, therefore desire must be thought of as the gap between the two. Even when we have what we want, it doesn’t stop us from wanting more, so in theory we never really have what we want. Desire is in this sense impossible to fulfil.
Lacan was a prodigious inventor of concepts, many of which have passed into the standard idiom of critical theory, e.g. floating signifier, imaginary, phallus, objet (petit) a, symbolic, and real. Perhaps his most famous statement was his rallying cry that we must return to Freud. He meant two things by this—firstly, and obviously, that we should read Freud’s texts (and not those of his followers), preferably in the original German; secondly, and much more importantly, he meant that we should focus on the analytic situation, namely the relation between analyst and analysand, which is where psychoanalysis first took form. See also psychoanalysis; semiotics; structuralism.
Further Reading:
E. Grosz Jacques Lacan: A Feminist Introduction (1990).
S. Homer Jacques Lacan (2005).
J. Rose Sexuality in the Field of Vision (1986).
E. Roudinesco Jacques Lacan (1997).
S. Turkle Psychoanalytic Politics: Jacques Lacan and Freud’s French Revolution (1992).
S. Žižek Looking Awry (1991).

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16
Q

langue and parole

A

A binary pair introduced by Ferdinand de Saussure distinguishing between, on the one hand, the set of possible ways of making meaning contained by any one language and, on the other hand, its various specific, concrete instantiations. In learning another language, our primary goal must be to gain an appreciation of its langue because only then will we be able to make sense of it, which for Saussure would mean being able to manipulate it and create new meanings. If we simply build up a vocabulary of foreign words we will never understand a language in the way a native speaker of that particular language does because we lack an appreciation of the rules of combination of those words that comprise that language’s langue. The terms are generally left in the original French because of the difficulty of their translation; where they are translated they are rendered as ‘language’ and ‘speech’ which is misleading to the extent that it obscures the fact that for Saussure langue refers to the internal structure of a language, not language itself, for which he used the term langage. For Saussure, langue is the system or machine of language developed in the collective unconscious of a specific community of language users. In contrast, parole is the event of language. This distinction is one of the cornerstones of structuralism.
Further Reading:
F. Jameson The Prison-house of Language: A Critical Account of Structuralism and Russian Formalism (1972).
J. Sturrock Structuralism (1986).

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17
Q

sign

A

The basic unit of interest for semiotics. It is perhaps best apprehended as a unit of meaning whose principal point of distinction is the fact that it is not meaningful in itself, but is only ever a sign of (or pointer to) a theoretically ‘full’ meaning that lies elsewhere. Although the two principal ‘fathers’ of semiotics, Ferdinand de Saussure and Charles Sanders Peirce, did not agree on whether the sign is a binary or tertiary construct, their independently arrived at conceptions of the sign nonetheless share a number of key features. The sign is composed of two or three inter-related and interactive parts which are distinct from one another but inseparable. For Saussure, the sign consists of a signifier and a signified—the former is the distinctive acoustic image (the ‘c’ sound in ‘cat’, for instance, which sounds very different from the ‘t’ sound in the same word), while the latter is the mental concept we arbitrarily associate with that sound (i.e. not an actual cat, but the idea of a cat). For Peirce, the sign consists of the representamen, the interpretant, and the object—the representamen is the perceptible object (or what is also known as the sign vehicle), the interpretant is the meaning or the effect of the sign, while the object is that which the sign represents. In both cases, too, the sign is greater than its constituent material vehicle (e.g. the colour red in a traffic light is only one part of the semiotic signal drivers use to know when to stop); it is not identical with its material vehicle (i.e. the colour red is not in and of itself a sign); nor is it identical with its elements (i.e. the colour red is only one part of the sign).

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18
Q

prisoner’s dilemma

A

The classic problem in game theory. Two prisoners jointly charged with a crime are held apart, and each is given the option of confessing, or not confessing. If each confesses, he convicts them both, and they will serve six years each. If neither confesses, the prosecutor will find a lesser charge, and each will serve two years. If A confesses and B does not, A is released and B serves an aggravated ten years. If B confesses and A does not, B is released, and A serves an aggravated ten years. The matrix is shown in the figure:
The surprising truth about the game is that whatever the other prisoner does a prisoner does better by confessing (if A confesses, B does better for himself by confessing, and if A does not confess, B does better for himself by confessing; and conversely for A if B confesses or does not confess). Confessing dominates not confessing. Yet the social result in which each of A and B follows this reasoning is the worst of all (12 person-prison years) and together they would have done much better by sitting tight (4 person-prison years). Many political situations (e.g. whether to vote when there is a cost to doing so, whether to refrain from wagebargaining, whether to be a good citizen and turn off one’s hose during a water shortage) can be modelled as prisoners’ dilemmas. The structure shows that it is not always the case that the social good is furthered efficiently by each person doing what is in his or her own best interests: as well as an ‘invisible hand’ whereby unbridled self-interest elevates everybody’s position, there can be an invisible boot whereby it diminishes it (see Smith).
An iterated prisoners’ dilemma is a sequence of such situations, of either finite or infinite length. In an interesting study (The Evolution of Cooperation, 1984) Robert Axelrod showed that an efficient policy in such a situation is ‘tit for tat’: you start off co-operating (not confessing) until faced with a play on which the opponent ‘rats’, and then you rat (confess) once in retaliation, but then, if the opponent mends his ways, you go back to not confessing until the same thing happens again. As well as being an efficient strategy ‘tit for tat’ has some intuitive moral justification. However, the strategy is sensitive to the ratio of rewards and penalties that are in play, and cannot be said to be the single best strategy for all circumstances. See also assurance game; chicken; commons, tragedy of.
Web Link: http://www.univie.ac.at/virtuallabs/Introduction/pd.html An online tutorial on the prisoners’ dilemma
Web Link: http://www.gametheory.net/applets/prisoners.html Simulations of the prisoners’ dilemma

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19
Q

truth function

A

A truth function of a number of propositions or sentences is a function of them that has a definite truth value, dependent only on the truth values of the constituents. Thus (p & q) is a combination whose truthvalue is true when p is true and q is true, and false otherwise. ¬p is a truth function of p, false when p is true and true when p is false. The way in which the value of the whole is determined by the combinations of values of constituents is presented in a truth table.
The propositional calculus is the standard treatment of truth-functional combinations. Its constants, &, ∨, ¬, → and ↔, are all truth-functors, i.e. expressions standing for truth functions.

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20
Q

social formation

A

A term used by structuralist Marxist scholars like Louis Althusser to differentiate between different types of societies in terms of their operation and structure, or more specifically their mode of production.

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21
Q

semantic paradoxes

A

Following Ramsey and the Italian mathematician G. Peano (1858–1932) it has been customary to distinguish logical paradoxes that depend upon a notion of reference or truth (semantic notions), such as those of the Liar family, Berry, Richards, etc., from the purely logical paradoxes in which no such notions are involved, such as Russell’s paradox, or those of Cantor and Burali-Forti. Paradoxes of the first type seem to depend upon an element of self-reference, in which a sentence talks about itself, or in which a phrase refers to something defined by a set of phrases of which it is itself one. It is easy to feel that this element is responsible for the contradictions, although self-reference itself is often benign (for instance, the sentence ‘All English sentences should have a verb’ includes itself happily in the domain of sentences it is talking about), so the difficulty lies in forming a condition that excludes only pathological self-reference. Paradoxes of the second kind then need a different treatment. Whilst the distinction is convenient, in allowing set theory to proceed by circumventing the latter paradoxes by technical means, even when there is no solution to the semantic paradoxes, it may be a way of ignoring the similarities between the two families. There is still the possibility that while there is no agreed solution to the semantic paradoxes, our understanding of Russell’s paradox may be imperfect as well.

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22
Q

logical paradoxes

A

Paradoxes such as Russell’s paradox, in which there is no use of semantic terms, are sometimes described as purely logical, in contrast to the semantic paradoxes.

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23
Q

social formation

A

A term used by structuralist Marxist scholars like Louis Althusser to differentiate between different types of societies in terms of their operation and structure, or more specifically their mode of production.

24
Q

solipsism

A

The extreme thesis that only the self exists. It arises from the view that only the self can be known with any certainty. On this view of things, it can be acknowledged that other consciousnesses may exist, but since those consciousnesses cannot be known their existence must remain speculative. Because of its anti-foundational stance, postmodern philosophy is frequently accused of solipsism, as were many of the key poststructuralist figures like Jacques Derrida and Michel Foucault.

25
Q

al-Farabi, Abu Nasr

A

The ‘second teacher’ after Aristotle of Islamic philosophy. Al-Farabi was one of the first philosophers to transmit Aristotelian logic to the Islamic world. He wrote extensively on logic, and expanded Aristotle’s description of the intellect. He also exhibits the influence of Neoplatonism: creation is an emanation, and it is the images of the world-soul or anima mundi that become bodies in space. His work The Virtuous City is a version of Plato’s Republic, a description of the ideal civic society in which all the virtues flourish.

26
Q

Stanislavsky, Konstantin Sergeyevich

1863–1938

A

Russian theatre director, best known as the ‘father’ of so-called ‘method acting’ (Hollywood devotees include Marlon Brando, James Dean, and Paul Newman). Born to a very wealthy family, Stanislavsky had a very privileged upbringing. Incredibly, given his bourgeois background, Stanislavsky survived both the revolutions of 1917 and Stalin’s purges. Although his family disapproved of acting as an occupation for their son, it being considered too low class, they were wealthy enough to have their own private theatre in which he could experiment. His access to family money enabled him to establish first the Moscow Society for Literature and then, more importantly, the Moscow Art Theatre, whose touring performances to Europe and America were the real source of his global influence. The Moscow Art Theatre staged works by many of the leading lights of Russian literature, e.g. Isaac Babel, Mikhail Bulgakov, Anton Chekhov, and Maxim Gorky. It is however for his contribution to acting methodology that Stanislavsky is best known. Several of his works are available in English, for example: An Actor Prepares (1936), Building a Character, Creating a Role (1961), and the autobiography My Life in Art (1925). Stanislavsky’s ‘method’ or ‘system’, as it is variously known, teaches actors to ‘live’ their parts either by calling on their own memories and experiences, or by ‘inhabiting’ the imagined world of their character. Stanislavsky famously used to ask his actors to perform theatrical exercises and games designed to estrange them as individual actors from their selves, to better enable them to ‘become’ their characters. This naturalistic style was explicitly rejected by Bertolt Brecht, but it is virtually the standard mode in contemporary cinema. There is probably no more influential theorist of theatre in the 20th century.
Further Reading:
J. Benedetti Stanislavski: An Introduction. (1982).
J. Benedetti Stanislavski: His Life and Art (1998).

27
Q

structuralism

A

One of the most important and wide-reaching intellectual movements of the 20th century. It is often referred to as a ‘linguistic turn’ because the origin of the method is the insight, derived from the work of Swiss linguist Ferdinand de Saussure, that virtually all human creations can be understood as though they were structured like language. Indeed, French psychoanalyst Jacques Lacan went so far as to pronounce that the unconscious is structured like a language. The crucial implication of Lacan’s claim, often missed, is that what this means is that the unconscious is a system, just as language is a system, and that they are both structured in the same way. For the same reason, it is also described as an anti-humanist method because it neither prioritizes nor privileges the human subject or individual conscious.
Interestingly, in Cours de linguistique générale (1916), translated as Course in General Linguistics (1959), to which the origins of structuralism are generally traced, Saussure never used the word ‘structure’, his preference was for the term ‘system’, which was in fact the more apt choice. What Saussure set out to discover was the universal system of language itself, that which is common to all languages. He wanted to know how language means, not what its meanings are. To do this, he had to change the way linguistics looked at language. Saussure made three crucial moves, which taken together add up to the basic methodological matrix of structuralism.
First, he shifted attention from the temporal to the spatial dimension of language. Until then, linguistics (still a branch of philology and not yet the science it has since become) focused on the history or evolution of specific languages, charting changes in pronunciation, spelling, vocabulary, grammar, and so on across time. Saussure referred to this trajectory of analysis as the diachronic axis and while he conceded its importance he argued that it left unanswered the question of what language is. He focused instead on what he called the synchronic axis, which is language as it is right now, and his way in was to think about the intriguing problem of why different languages have different words for the same thing, or similar words with different meanings.
The second move, namely his conclusion to the foregoing problem, which after several decades of delay revolutionized the human sciences, was that the relation between a particular sound and its meaning is arbitrary. Saussure had thus to make a further distinction between the concrete fact of a language as it is spoken in the present (which he referred to as parole) and the underlying system of combination enabling language to function as a mode of communication (which he referred to as langue). Langue and parole are inseparable, but while parole must, of necessity, have a concrete presence, langue does not. Parole is an imperfect and partial realization or instantiation of langue and Saussure’s genius was to use it to triangulate what the ‘whole’ system must look like. Langue as Saussure understood it is a social fact, that is to say a greater conceptual entity than a single individual can grasp, regardless of how many languages they may have mastered.
Finally, Saussure proposed that linguistics should change the object of its analysis from words to what he called signs. Signs, which are the concrete instantiations of parole, whose meaningfulness is made possible by langue, are composed of two elements, a signifier (signifiant) and a signified (signifié). The former is the sound of a particular word, which must be both distinguishable from other sounds and reproducible (it is these twin attributes that separate phonetics from sheer noise). The latter is the concept we generally associate with that sound. The relationship is not that of a word and a thing (referent), which would reduce language to a naming system. The sign is not self-sufficient, as a symbol is, but relies on a system of inter-relating differences for its meaning.
Structuralism became a global intellectual movement when its methodology was adopted by other disciplines and adapted to suit their own specific objectives and problematics. The first discipline to do so was anthropology, led by Claude Lévi-Strauss, who was introduced to Saussure’s work by Roman Jakobson in New York, where they were both exiled during World War II (the two co-published a number of short explorations of what a structuralist method might look like outside of linguistics). In philosophy, it was Maurice Merleau-Ponty who took the initiative, while in literary studies it was Roland Barthes who paved the way forward, and film studies (Christian Metz), psychoanalysis (Jacques Lacan), and Marxism (Louis Althusser) followed suit.
The advantage of structuralism over other methods was, as later critics came to realize, also its inherent disadvantage. Nevertheless, its advantages are considerable, as can be seen in popular fiction studies, where its power of comparative analysis continues to be useful. Umberto Eco’s analysis of James Bond novels and films in The Role of the Reader: Explorations in the Semiotics of Texts (1979) is exemplary in this respect. Eco reads the entire Bond catalogue and extracts a series of features in common to them all at the level of the organization of the narrative. In this way, he is able to show how the Bond ‘machine’ functions to create stories that are consistent, similar in their essentials, yet different enough to satisfy readers, and thus open a window into the unconscious of author and reader. A similar approach has been used by Janice Radway in her analysis of popular romances, Reading the Romance (1991) and Will Wright in his study of westerns, Sixguns and Society (1992). The most sophisticated analysis of this type is undoubtedly A. J. Greimas’s semiotic squares.
The disadvantages of structuralism are twofold: first, as Marxist critics like Fredric Jameson have pointed out, structuralism is ahistorical (deliberately so, since it was the refusal of the diachronic that enabled the focus on the synchronic), which is a problem because although it is able to identify the various models and machines operative in culture, it cannot explain how they were created, nor why they persist; second, as Jacques Derrida has pointed out, the signified does not supply the signifier with a meaning because it itself is undecided. Almost any example will prove this point—if the concept of redness is the signified of the signifier ‘red’, then what gives ‘redness’ its meaning? Derrida thus argues the whole system is based on an illusion of ‘presence’, that is the presence of a definitive meaning. Derrida is generally credited with bringing the structuralist era to a close at a conference in Baltimore which, ironically enough, was intended to showcase structuralism to American scholars.
Further Reading:
F. Jameson The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism (1972).
J. Sturrock Structuralism (1986).

28
Q

base and superstructure

A

Analogy proposed by Karl Marx to characterize modern society as a dual system consisting of two semi-autonomous (as Louis Althusser would later characterize them) types of operations: the base is the economy, the forces and relations of production, while the superstructure is the non-economic support apparatus comprising the judiciary, government, police, but also culture itself. Marx’s most explicit articulation of this concept is in his 1859 ‘Preface’ to A Contribution to the Critique of the Political Economy, but his meaning is much disputed. At issue is whether or not the ‘base’ should be regarded as the cause of the ‘superstructure’ in some direct or indirect way. So-called ‘vulgar’ Marxists generally take the view that the base is causal, whereas ‘historical’ or ‘cultural’ Marxists tend to take the view that the two systems are mutually reinforcing.

29
Q

syncretism

A

Used in cultural anthropology and Cultural Studies to describe the synthetic cultural productions that result from the coming together of diasporic cultures (e.g. bhangra and reggae). Syncretism differs from hybridity in that its synthesis can occur across class as well as race barriers.

30
Q

Tel quel

A

A French literary and philosophical journal published between 1960 and 1983. Edited by Philippe Sollers, the journal published work by many of the leading figures of what would become known as post-structuralism, or simply as theory, and so played a major part in both disseminating and popularizing theory. Roland Barthes, Jacques Derrida, Michel Foucault, and Julia Kristeva all published with the journal—they all also broke with the journal at some point for philosophical and more especially political reasons. The journal was distinctive for its pugnacious stance: it overtly championed political causes such as Maoism, and defended the nouveau roman against criticism, but also attacked it for not being experimental enough, and favoured psychoanalysis and Marxism when these things were out of fashion. It was undoubtedly one of the most influential academic journals of its time.
Further Reading:
P. ffrench The Time of Theory: A History of Tel Quel, 1960–83 (1995).

31
Q

clear and distinct ideas

A

Term used by Descartes to signify the particular transparent quality of ideas on which we are entitled to rely, even when indulging the method of doubt. The nature of this quality is not itself made out clearly and distinctly in Descartes, but there is some reason to see it as characterizing those ideas that we we just cannot imagine false, and must therefore accept on that account, rather than ideas that have any more intimate, guaranteed, connection with the truth.

32
Q

ordering relation

A

A partial ordering on a set is a relation < that is transitive and reflexive and antisymmetric. That is,
(i) x < y & y < z → x < z;
(ii) x < x;
(iii) x < y & y < x → x=y.
If we add (iv) that at least one of x < y, x=y, and y < x holds (the relation is connected, or, all elements of the set are comparable), then the ordering is a total ordering (intuitively, the elements can be arranged along a straight line); otherwise it is a partial ordering. A well-ordering is an ordering such that every non-empty subset of the set contains a minimal element, that is, some element m such that there is no x π m in the set such that x < m. A well-ordering on a set A is a linear ordering with the property that every nonempty subset of A has a minimal element.

33
Q

essence

Latin, esse, to be

A

The basic or primary element in the being of a thing; the thing’s nature, or that without which it could not be what it is. A thing cannot lose its essence without ceasing to exist, and the essential nature of a natural kind, such as water or gold, is that property without which there is no instance of the kind. Locke contrasted real essences, in something like this sense, with the nominal definition provided by a description of the common properties of a thing. Throughout Greek, scholastic, and some modern philosophy there have been many proposals of ways for finding the essences of things, and views about what science would be like if we did know them. The distinction between essential and accidental properties is rejected by holistic approaches to science, such as that advocated by Quine. See also essentialism, haecceity, quiddity.

34
Q

metalogic

A

A theory whose subject-matter is a logistic system: see metamathematics.

35
Q

genotype

A

An organism’s genetic constitution. See phenotype.

36
Q

phenotype

A

The gross physical and physiological features of an organism produced by the interaction of its genes and the environment. Contrasted with the genotype, which is an organism’s genetic constitution: this may include recessive genes, or those that are not expressed and have no effect on the phenotype. See also heritability.

37
Q

Thompson, Edward Palmer

1924–93

A

British Marxist cultural historian and nuclear disarmament activist. Born in Oxford to parents who were Methodist missionaries, he went to high school in Bath and university at Corpus Christi College, Cambridge. During World War II he served in a tank corps in Italy. At Cambridge he joined the Communist Party and in 1946 together with Christopher Hill, Eric Hobsbawm, and Rodney Hilton, formed the Communist Party Historians Group, which established its own highly influential journal Past and Present. It was the publication in 1963 of The Making of the English Working Class that brought Thompson widespread recognition as one of the key intellectuals of the time. Like Richard Hoggart’s The Uses of Literacy (1957) and Raymond Williams’s Culture and Society (1958), The Making of the English Working Class set aside the old model of culture which ignored the daily lives of the labouring classes in favour of the pronouncements and peccadilloes of the aristocracy, as though to say it is only kings and queens who have culture and make history. It was for this reason, despite its focus on 17th century Britain, that Thompson’s work proved to be of enduring interest to Cultural Studies, which is similarly interested in everyday life. In the 1970s, having moved from Cambridge to Warwick, from which he famously resigned in protest at what he saw as its commercialization, Thompson made his living as a freelance writer, producing short works on a wide variety of historical and contemporary topics. He found true notoriety in 1978 with the publication of The Poverty of Theory, a blistering, albeit misdirected and intemperate, attack on theory, and particularly on its then leading exponent Louis Althusser. Perry Anderson wrote an equally scathing reply, Arguments within English Marxism (1980), demolishing virtually every one of Thompson’s points. From 1980 on, Thompson devoted his attention and energy to the nuclear disarmament movement, writing countless polemical pieces attacking the militarist ideology.

38
Q

trope

A

A figure of speech, or mode of rhetoric, which changes the meaning of words. The main varieties of trope are metaphor, metonymy, synecdoche, and irony. Tropes may also take an extended form as Hayden White demonstrates in Tropics of Discourse (1978). White uses the concept of trope to account for the way historians give meaning to the historical record. For White, all narratives are in effect tropes inasmuch that at a macro-structural level they shape the meaning of all words.

39
Q

verisimilitude

A

The state of appearing to be a ‘true’ likeness—the term is derived from Latin ‘verum’ meaning truth and ‘similis’ meaning like. For example, the dust and grime on the robots and spaceships in the Star Wars cycle of films has the effect of making them seem ‘more real’, as it were, than if they were shiny and new like toys fresh out of their boxes. In this respect, verisimilitude is clearly the goal of the techniques Roland Barthes analyses in his account of the reality-effect. It is often also used as a measure of the comparative achievement of works of either realism or naturalism (the greater the degree of verisimilitude the better the works). Verisimilitude might be regarded as the ultimate form of mimesis. In philosophy, verisimilitude is used to describe the degree to which a certain hypothesis approaches the truth; it was first used in this sense by Karl Popper.

40
Q

weak thought

pensiero debole

A

A label applied to the work of Italian philosopher Gianni Vattimo. Although Vattimo adopted this description of his thought, his own term for what he is trying to do in his work is in fact ‘weak ontology’. He derives the idea of a weak ontology from his reading of Martin Heidegger and Heidegger’s student Hans-Georg Gadamer, whose key work he translated into Italian. On Vattimo’s reading of Heidegger there is a profound separation between language and reality; language on this view can at best convey an interpretation of reality, but never the thing itself. Hence it is a ‘weak’ not ‘strong’ ontology. But in contrast to a number of other philosophers in the postmodern anti-foundation tradition, Vattimo does not interpret this state of being as a crisis for metaphysics. He sees it rather as a challenge to develop a more rigorous process of interpretation.

41
Q

Wittgenstein, Ludwig

1889–1951

A

Austrian philosopher, generally regarded as one of the most important of the 20th century, not the least because his work bridged the usually insuperable divide between analytic philosophy (particularly the branch known as logical positivism) and continental philosophy. His notion of language games played a very important role in this regard. Wittgenstein’s work was predominantly concerned with the theory of meaning. An eccentric figure, his life story has been the subject of film—Wittgenstein (1993), scripted by Terry Eagleton and directed by Derek Jarman—as well as several speculative novels. Biographers have had a field day with his life. Ray Monk’s excellent biography presents him as a tormented genius, while Kimberley Cornish’s more fanciful effort claims him as a Soviet spy linked to the so-called Cambridge Five.
He was born in Vienna into a family of assimilated Jews. The children were all baptized as Roman Catholics. Wittgenstein’s father was one of the wealthiest men in Europe. He made his fortune in iron and steel, then at a quite young age consolidated his wealth into real estate and retired from active involvement in his company so as to devote time to the arts. He commissioned paintings by Klimt and sculptures by Rodin and music from Mahler and Brahms. All the Wittgenstein children were talented. His elder brother Paul was an internationally renowned pianist, who even managed to continue on the concert circuit after losing an arm in World War I. In such a household, Ludwig felt like something of a failure. It was evidently an unhappy household, too, as three of his brothers committed suicide, and all of them including Ludwig suffered from depression.
Philosophy was something that Wittgenstein only became aware of when he entered university. Initially he was interested in engineering, particularly aeronautics, and this is what he studied, first in Berlin, then in Manchester. While he was in England he started reading work on the foundation of mathematics by Alfred North Whitehead, Bertrand Russell, and Gottlob Frege. He visited the latter, who advised him to study with Russell, so in 1911 he went to Cambridge to do precisely that. Russell was immediately impressed by his intelligence and encouraged his work. But to write and think properly, Wittgenstein needed solitude, so in 1913 he took himself to an isolated hut in Norway and there wrote what was effectively the first draft of Tractatus Logico-Philosophicus (1921). Further work on it was delayed by the outbreak of World War I. Wittgenstein returned to his native country and volunteered for the army, and served in the artillery on both the Russian and Italian fronts, winning several decorations for valour.
On leave from the front, late in the summer of 1918, Wittgenstein received the sad news that one of his closest friends had been killed in an air crash. Almost suicidal with grief, Wittgenstein retreated to his Uncle Paul’s house, and there completed the final manuscript of Tractatus Logico-Philosophicus. In spite of its later reputation as one of the most important works of philosophy of the 20th century, it was initially very difficult to find a publisher willing to take it on, and in all probability would not have been published without the assistance of Bertrand Russell.
In Wittgenstein’s own mind, the Tractatus had solved all the basic problems of philosophy that interested him, so he decided there was no point in pursuing a career as a philosopher. He opted to become a primary school teacher instead. He also wanted to unburden himself of his family legacy, so he gave his not inconsiderable inheritance to his brothers and sisters and returned to Austria. But as perhaps might have been expected, Wittgenstein was not well suited to the task of teaching young children and he was forced to resign in 1926. In somewhat of a slump and feeling a failure as a teacher, Wittgenstein worked for a time as a gardener in a monastery and contemplated taking orders. He was woken out of his mental and spiritual torpor by the offer from his sister to design her new house. He leapt at the chance and designed a house of such austere beauty that his other sister described it as being fit only for gods, not humans. Wittgenstein slaved over every detail, right down to the design of the window latches. The house still stands today and is used as a cultural centre.
Moritz Schlick, the leading figure in the Vienna Circle, contacted Wittgenstein as he was completing work on the house and persuaded him to meet with him and some of his colleagues, who were admirers of the Tractatus. These meetings, which Wittgenstein often found very frustrating, stimulated him into thinking he had more to give philosophically speaking, and more importantly, started him thinking that perhaps the Tractatus contained grave errors that needed to be remedied. So in 1929 he returned to Cambridge. Reflecting on the occasion, his friend John Maynard Keynes famously wrote to his wife: ‘Well, God has arrived. I met him on the 5.15 train.’
At Russell’s suggestion the Tractatus was submitted as a PhD so that Wittgenstein could obtain the requisite qualification to teach at Cambridge (at that point he did not even have an undergraduate degree). With extended sabbaticals in Russia, Norway, and Ireland, as well as a long stint working as a medical orderly in Newcastle and London during World War II, Wittgenstein worked at Cambridge until 1947. He resigned his post then in order to concentrate on writing, which he found himself unable to do in what he perceived to be the stifling atmosphere of Cambridge. For the next three years, before he succumbed to cancer, he led a peripatetic existence travelling and writing. Although the Tractatus was the only work of philosophy published in his own lifetime, he left behind hundreds of pages of manuscript that have since been shaped into books and published, the most important of which is undoubtedly Philosophische Untersuchungen (1953), translated as Philosophical Investigations (1953).
It is customary to divide Wittgenstein’s career into two parts—the first part is determined by the abstract formalism of the Tractatus, which rejects even its own meaningfulness because its meaning has to be constructed on the basis of context; the second part is determined by Philosophical Investigations, or the PI as it is usually known, which does a complete turnaround and argues that it is only by dealing with context that meaning is possible, and introduces the idea of the language game to try to deal with it.
Further Reading:
A. C. Grayling Wittgenstein: A Very Short Introduction (2001).
R. Monk Ludwig Wittgenstein: The Duty of Genius (1990).
R. Monk How to Read Wittgenstein (2005).

42
Q

zeugma

A

Literally meaning ‘yoking’, it is a figure in rhetoric in which one word in a sentence is used to refer to two others in the same sentence. For example, ‘the children like to run and sing’.

43
Q

active and reactive

A

German philosopher Friedrich Nietzsche (and after him French philosopher Gilles Deleuze) used these categories to describe two different ways of acting and—by extension—being in the world. An action (which may be a thought, feeling, or practice) is active when it takes something as its object; conversely, it becomes reactive when it is made the object of someone or something else. Thus, if we feel sad (or happy) and we do not know why we feel this way, then we are reactive; if, however, we can discover the reason we are feeling this way, we can convert reactive forces into active forces. Reactive is not the same as negative and should not be thought of as intrinsically bad; it is, rather, the usual state of things. It is, however, a limiting state of things, because it separates us from what we can do—if we are sad for no apparent reason, and we do not seek out the cause, then we are prevented from forming an appropriate response to that cause, and our power to act is reduced. We are reacting when we could be acting, and more problematically still we are using our reaction to excuse our lack of action. Nietzsche generally refers to this state as ressentiment. Therefore, the challenge for both philosophy and life, according to Nietzsche, is to overcome the reactive state of things and become active, thereby constantly enhancing our power to act.
Further Reading:
G. Deleuze Nietzsche and Philosophy (1983).

44
Q

alienation

Entfremdung

A

Karl Marx used this term to describe the changes in the economic and social conditions of modernity which separated (i.e., alienated) workers from the product of their labour, the process of their labour, the reason for their labour, and finally each other. A factory worker in a car manufacturing plant is responsible for only one small part of the final product, and that may even be invisible in the finished item; the workers do not control the flow of work, but have to adapt themselves to the demands of the production line (Henry Ford famously didn’t allow toilet breaks!); moreover, whether there is in fact any work at all is completely beyond their control, it all depending on the global market; from this point of view, the workers in one plant benefit when workers in plants elsewhere fail. Compare this to the peasant farmer who is responsible for planting, tending and harvesting his or her crop and works as much or as little as his or her needs dictate. Marx develops this concept in the posthumously published ‘Economic and Philosophical Manuscripts’ (1844) by reworking Hegel’s concept of Geist (spirit).

45
Q

analytic philosophy

A

A catch-all phrase designating a variety of different types of work that have in common their opposition to continental philosophy, metaphysics, and all post-Kantian thought (including critical theory). Often known as Anglo-American philosophy because it originated in Britain at the turn of the 20th century with the work of Bertrand Russell, Alfred North Whitehead, and G. E. Moore (all of whom were influenced in this direction by the work of the German logician Gottlob Frege), and because its practice tends to be confined to Anglophone countries, analytic philosophy is primarily interested in logic. It is suspicious of language’s ability to mislead and misdirect via rhetoric, so it aims to find a logical core to its operations and thereby eliminate its power to obfuscate. It does this by converting all statements into their propositional form; where this proves impossible, it detects fuzzy thinking and falsehood. See also empiricism; logical positivism.

46
Q

anomie

A

The absence of social norms, regulations or laws. Not to be confused with anarchy, anomie is an existential condition rather than a specific state of affairs. Anomie can arise even within a very well regulated society if those norms, regulations or laws lose their legitimacy and aren’t replaced by an alternative vision of how things should be. Derived from the Greek word ‘nomos’, meaning law, the term was first used by French philosopher Jean-Marie Guyau, but its most well-known formulation is that of French sociologist Émile Durkheim, who used it in his book Suicide (1897) to describe a situation in which social changes—particularly those relating to employment prospects—bring about a situation in which people begin to feel hopeless and without a future because of the discrepancy between public discourse (what the government proclaims to be true) and the evidence on the ground, which belies that rhetoric.

47
Q

Appadurai, Arjun

1949–

A

Indian-born, US-based cultural anthropologist and co-founder of the important postcolonial theory journal Public Culture. Born and educated in Mumbai, Appadurai moved to the US in 1967, completing a BA at Brandeis, followed by a PhD at the University of Chicago. He now works at The New School, New York. In 1988 he edited a collection of essays entitled The Social Life of Things: Commodities in Cultural Perspective, which set out to chart (on a global scale) the creation and regulation of and variation in taste, asking why one kind of thing is valued in one place and not another and just as importantly at one time and not another. His introductory essay to this collection is a landmark in the field of cultural anthropology. Perhaps his most important work, at least from the perspective of critical theory, is Modernity at Large: Cultural Dimensions of Globalization (1996), which offers a fivefold theory of global cultural flows, or scapes, that taken together comprise the contemporary social imaginary. His most recent work, Fear of Small Numbers: An Essay on the Geography of Anger (2006), has concentrated on affect, particularly anger.

48
Q

Augé, Marc

1935–

A

A French anthropologist, Augé belongs to the generation of scholars who were trained in the 1960s in Paris, for whom the likes of Louis Althusser, Michel de Certeau, Gilles Deleuze and Michel Foucault can be counted as teachers and crucial influences or antagonists as the case may be. A prolific, witty, and complex author, Augé considers himself to be an anthropologist; but his lifelong project has been one of reinventing what it means to do anthropology in the rapidly changing times he refers to as supermodernity (surmodernité).
Marc Augé’s career can be divided into three stages, reflecting shifts in both his geographical focus and theoretical development: early (African), middle (European) and late (Global). These successive stages do not involve a broadening of interest or focus as such, but rather the development of a theoretical apparatus able to meet the demands of the growing conviction that the local can no longer be understood except as a part of the complicated global whole.
Augé’s career began with a series of extended field trips to West Africa, where he researched the Alladian peoples situated on the edge of a large lagoon, west of Abidjan on the Ivory Coast. The culmination of this endeavour is the masterly Le Rivage alladian: Organisation et évolution des villages alladian (1969) (The Alladian Riparian Peoples: Organization and Evolution of Alladian Villages). The sequel, Théorie des pouvoirs et Idéologie: Études de cas en Côte d’Ivoire (1975) (Theory of Powers and Ideology: Case Study in the Ivory Coast), followed a series of three further field excursions to the Ivory Coast between 1968 and 1971. Augé coined the term ideo-logic to describe his research object, which he defined as the inner logic of the representations a society makes of itself to itself. A third and final instalment in this series of studies of the Alladian peoples was added in 1977, Pouvoirs de vie, Pouvoirs de mort (Powers of Life, Powers of Death).
The second or European stage, consists of a sequence of three interrelated books: La Traversée du Luxembourg (1985) (Traversing Luxembourg Gardens); Un ethnologue dans le métro (1986); translated as In the Metro (2002); and Domaines et Châteaux (1989) (Homes and Palaces). In this period of his career, Augé took the novel approach of applying methods developed in the course of fieldwork in Africa to his local Parisian context. Augé focused on four key aspects of contemporary Parisian society:
(i) the paradoxical increase in the intensity of solitude brought about by the expansion of communications technologies;
(ii) the strange recognition that the other is also an ‘I’;
(iii) the non-place, the ambivalent space that has none of the familiar attributes of place—for instance, it incites no sense of belonging;
(iv) the oblivion and aberration of memory. The work in this period emphasizes the anthropologist’s own experience in a way that neither the earlier nor later work does.
Augé does this by comparing his own impressions of these places with those produced by some of French literature’s greatest writers. What this comparison illustrates is the apparent insuperability of the gap between language and experience. Yet it is that very gap, he argues, that his anthropology must be able to close if it is to be of continuing relevance in contemporary society.
The third or global stage has so far yielded four books: Non-Lieux, Introduction à une anthropologie de la surmodernité (1992) translated as Non-Places: Introduction to an Anthropology of Supermodernity (1995); Le Sens des autres: Actualité de l’anthropologie (1994) translated as A Sense for the Other: The Timeliness and Relevance of Anthropology (1998); Pour une anthropologie des mondes contemporains (1994) translated as An Anthropology for Contemporaneous Worlds (1998); and Le Guerre des rêves: exercises d’ethno-fiction (1997) translated as The War of Dreams: Exercises in Ethno-fiction (1999). Taken together these works comprise an extended meditation on the disparity between observations made in the course of anthropological fieldwork in the first and the second stages of his career. The third stage of Augé’ s career has a twofold aim: on one hand, it is an attempt to theorize globalization as it is lived in properly global terms; on the other hand it is an attempt to reinvigorate the discipline of anthropology as a whole. To that end he deploys a number of innovative writing techniques, describing the synthetic results as ‘ethno-novels’. See also postmodernism.
Further Reading:
I. Buchanan ‘Non-Places: Space in the Age of Supermodernity’ in R. Barcan and I. Buchanan (eds.) Imagining Australian Space (1999).
J. Frow Time and Commodity Culture (1997).

49
Q

Bachelard, Gaston

1884–1962

A

French philosopher of science. Born in Bar-sur-Aube, in the Champagne region of France, Bachelard’s academic career was very slow to start. He spent several years working in a post office before even commencing university study. And it was not until after the First World War, in which he served with distinction (earning the Croix de Guerre), that he finally attained an academic post. His first job was a professor of physics and chemistry at a College in Bar-sur-Aube. He remained there from 1919 until 1930, during which time he began to focus more and more on the philosophy of science. And it was in this area that he eventually made his mark, becoming professor of the philosophy of science at the Sorbonne in 1940. There are two main trajectories in Bachelard’s work, reflecting his conviction that there are two types of thought: scientific and poetic. With respect to science, Bachelard was one of the first thinkers to emphasize discontinuity in the history of thought. Knowledge does not progress according to a logical, linear set of steps moving from partial to complete understanding; rather it progresses unevenly from one misconception to another until understanding is finally attained. On this view, the previous attempts at understanding a particular phenomenon cannot be used as a reliable guide as to how knowledge was attained in the final instance. Bachelard introduced the concept of the epistemological break to characterize the gap between past ignorance and present understanding. This concept was widely influential and was developed further by Georges Canguilhem (in his account of medical science) and Michel Foucault (in his histories of the clinic, prison, and madness). It also had enormous impact on Louis Althusser, who used it to articulate his claim that Marx broke with both Hegel and Feuerbach. The other trajectory in Bachelard’s work, reflecting strongly the influence of Carl Jung, concerns the poetic image, which for Bachelard is not the same thing as a metaphor. It is rather an opening toward the future. In a series of studies on elemental themes—air, water, fire, and space—Bachelard produced a powerful account of the daydream or reverie, arguing that it enables us to get in touch with the deeper reserves of our imagination. The best known of these studies is La Poétique de l’espace (1958) translated as The Poetics of Space (1964), which was a worldwide bestseller. Other books in the series include: La psychanalyse du feu (1938) translated as The Psychoanalysis of Fire (1977); L’eau et les rêves ( 1942) translated as Water and Dreams: An Essay on the Imagination of Matter (1994); and La poétique de la rêverie (1960) translated as The Poetics of Reverie: Childood, Language, and the Cosmos (1992).
Further Reading:
D. Lecourt Marxism and Epistemology: Bachelard, Canguilhem and Foucault (1975).
M. McAllester Gaston Bachelard: Subversive Humanist (1991).
M. Tiles Bachelard: Science and Objectivity (1984).

50
Q

Bataille, Georges

1897–1962

A

French religious historian, philosopher and novelist. For most of his professional life he worked as a librarian, which not only gave him access to vast collections of arcane texts and items but also plenty of free time to trawl through them, as his various works amply evidence. Contradicting the stereotypical image of the librarian as an anti-social type who prefers books to people, Bataille was a great organizer: he was one of the founding members of the Collège de Sociologie (along with Roger Caillois and Michel Leiris) and its journal Documents; he was co-founder of the journal Acéphale and its associated secret society; and he was the founding editor of Critique. He also was affiliated with the Surrealists and helped establish the off-shoot anti-fascist group Contre-Attaque.
Born in Billom in the Auvergne district of France, Bataille initially wanted to be a priest, but abandoned these plans in his late teens and instead studied medieval history, particularly religious history, focusing on working with books and manuscripts. His first job was at the Bibliothèque Nationale in Paris, where he remained for over twenty years. Then following a seven-month spell of medical leave, convalescing with tuberculosis, he worked at libraries in Carpentras and Orleans. Fittingly, it was to Bataille that the German Jewish writer and philosopher Walter Benjamin entrusted his manuscripts when he fled Paris in 1940 after the German Army occupied the city.
Bataille’s name is inexorably tied to the concept of transgression. His entire career can be seen as an investigation into both the actual ontology of transgression and the anthropology of its apparent necessity. For Bataille transgression is inherent in any and every system, no matter how rigorously it seems to be excluded. His exploration of transgression takes two main forms. First, and probably best known, is his fiction—part essay, part treatise; his erotic novels Histoire de l’oeil (1928), translated as Story of the Eye (1967), and Madame Edwarda (1941) have been admired in print by Yukio Mishima, Susan Sontag and Roland Barthes and are a staple part of any course on experimental fiction (that André Breton attacked him for being an ‘excremental’ writer hasn’t hurt his reputation in this respect). Second is his philosophical and historical accounts of the centrality of transgression to social life, the best known work being La Part maudite (1949), translated as The Accursed Share (1988).
Bataille’s theory of transgression is this: every ‘restricted economy’, his word for any putatively closed system or self-contained idea or concept, always produces more than it can contain and is fractured by this unacknowledged excess. Thus a notion like chastity only has meaning insofar as it is acknowledged that it is the negative of carnality; the fact that being chaste means choosing not to have sex means that the idea of actually having sex is never far from the surface. By the same token, the pleasure of transgression depends upon such restrictions being imposed in the first place (this is what theorists like Michel Foucault and Gilles Deleuze mean when they say power is productive).
Outside of philosophy, Bataille’s most enduring influence has been in the field of art history, particularly the group surrounding the journal October which is interested primarily in modern and contemporary art.
Further Reading:
F. Botting and S. Wilson Bataille (2001).
M. Surya Georges Bataille, la mort à l’oeuvre (1992), translated as Georges Bataille: An Intellectual Biography (2002).

51
Q

Benveniste, Émile

1902–76

A

French linguist, generally regarded as one of the main precursors to structuralism. Born in Aleppo in Northern Syria, then a French Mandate, Benveniste’s family, who were Sephardic Jews, sent him to Marseilles to attend rabbinical school, but one of the scholars there, recognizing his talent, suggested he go to the Sorbonne instead to study Indo-European linguistic forms under Antoine Meillet (a former student of Ferdinand de Saussure). The connection proved fortuitous and Benveniste flourished. His early work was highly specialist and for that reason little known outside the closed circles of linguistics, but it was distinguished enough to see him elevated to a chair at the Collège de France at the comparatively young age of 35. Although he worked in the shadows for most of his academic career, Benveniste was propelled into the spotlight with the publication in 1966 of Problèmes de linguistique générale, translated as Problems in General Linguistics (1971). The two doyens of Parisian structuralism, Claude Lévi-Strauss and Jacques Lacan recognized him as an important ally in the development of their projects, thus encouraging Benveniste to broaden his range of interests and cease to write exclusively for linguists (who ignored him in any case). Benveniste’s work set him apart from other linguists of his generation for his willingness to embrace ideas drawn from analytic philosophy at a time when French thought was dominated by the work of Nietzsche and Heidegger, and for his interest in the problematic of the subject. Benveniste broke once and for all with the idea that language is a signal system by arguing that bees do not have language because while a bee can report back to the hive what it has seen, it cannot use an intermediary to do the reporting on its behalf; language, for Benveniste, arises only with the possibility of reported speech (a notion that is central to Gilles Deleuze’s theory of literature). By the same token, if language is not purely a signal system, then there must be a dimension to it that exceeds the basic requirements of signalling—a dimension often referred to as the poetic. In order to grasp this, Benveniste distinguished between the énoncé (statement) and the énonciation (utterance), or to put it more simply the thing said and the way it is said. This in turn created a logical paradox that would prove central to Lacan’s reformulation of psychoanalysis, namely that the ‘I’ of the statement is not the same as the ‘I’ of the utterance, that in effect the ‘I’ is always an ‘other’.

52
Q

Blanchot, Maurice

1907–2003

A

French philosopher and author, Blanchot is a major figure in 20th-century French intellectual history, but one whose presence is often and perhaps deliberately hard to detect. Consistent with his view that literary and philosophical works are not reducible to either a psychological or sociological explanation, Blanchot was in his last years famously reclusive in his habits. His prose style is similarly enigmatic—in his fiction he habitually erases the markers of place and person readers rely on to coordinate their understanding of the text; and his philosophy, concerned as it is with the unsayable (death, silence, and solitude are among his key preoccupations, the others being friendship, work, and space), constantly strives to say that which, it acknowledges, can only be gestured towards.
Blanchot was born in Quain in the Saône-et-Loire district of Burgundy. He did his undergraduate degree at the University of Strasbourg, studying German and philosophy. There he met Emmamuel Levinas, who would become a lifelong friend. As an undergraduate Blanchot was actively involved with the extreme right-wing group Action Française. He wrote articles for such right-wing publications as Journal de Débats, Réaction, Le Rempart, Combat, and L’Insurgé, perhaps explaining his later reticence with respect to biography. However, following the defeat of France in 1940 he refused to collaborate with the Vichy regime and retreated almost completely from public life, not surfacing again until the May ‘68. He is widely believed to have authored the famous ‘Manifeste de 121’, a declaration signed by 121 intellectuals (mostly from the left) proclaiming the right of insubordination in protest to the Algerian war.
Gilles Deleuze, Paul De Man, Jacques Derrida and Michel Foucault, among many others, have all paid homage to Blanchot, praising him for articulating the gap—which Blanchot designated as the Outside—between the sayable and the non-sayable and more particularly for attempting to say what it is that belongs only to art. Like his friend Georges Bataille, Blanchot pursued this project via the dual pathways of literature and philosophy. Blanchot’s novels, such as Thomas l’Obscur (1941), translated as Thomas the Obscure (1973) and L’Arrêt de mort (1948), translated as The Death Sentence (1978), are every bit as experimental as Bataille’s, and only slightly less confronting. His best known philosophical works are: L’Espace littéraire (1955), translated as The Space of Literature (1982), and L’Entretien infini (1969), translated as The Infinite Conversation (1993).
Further Reading:
G. Bruns Maurice Blanchot: The Refusal of Philosophy (2005).
U. Haase Maurice Blanchot (2001).
K. Hart The Dark Gaze: Maurice Blanchot and the Sacred (2004).
L. Hill Blanchot: Extreme Contemporary (1997).

53
Q

Brecht, Bertolt

1898–1956

A

German Marxist playwright, novelist, poet and theorist. One of the most influential writers of the 20th century and arguably the most important dramatist of his time. His writing displays what Wolfgang Haug usefully calls ‘unity-in-dispersal’, which is to say it ranges across an impressive variety of genres and styles, but at its core there is a consistent political conviction.
Brecht was born in Augsburg in Southern Germany. His father was the managing director of a paper mill and solidly middle class. Brecht enrolled at Munich University in 1917 to study drama, but took on medical courses as well in the hope of avoiding being drafted into the army. He was partially successful in this gambit in that while he was eventually drafted, he was posted to a VD clinic in Augsburg as an orderly. After the war Brecht launched himself into his theatre career and was rewarded with early success. His first play, Baal (1918), won the prestigious Kleist Prize. In 1927 he joined the company of Erwin Piscator, widely regarded as the most important experimental theatre group in Germany. He borrowed a great deal from Piscator in his own later experiments in staging.
Considerable wealth and genuine fame soon came his way with his adaptation of John Gay’s The Beggar’s Opera (1728), Die Dreigroschenoper (1928), translated as The Threepenny Opera (1933), which he worked on with composer Kurt Weill. One of the most popular pieces of musical theatre of the 20th century, it has been performed more than 10,000 times and many of its songs, such as ‘Mack the Knife’, have become jazz and cabaret standards sung by the likes of Ella Fitzgerald and Nina Simone. Two years later Brecht and Weill collaborated on Aufstieg und Fall der Stadt Mahagonny (1930), translated as Rise and Fall of the City of Mahagonny, a powerful critique of the rising tide of fascism in Germany.
His anti-Nazi stance would necessitate him leaving Germany when they came to power in 1933. He fled first to Denmark, where he was joined by Walter Benjamin, then to Sweden and thereafter, like so many of his compatriots, particularly the Frankfurt School, to the US. He ended up in Los Angeles, which he famously described as God’s way of economizing by having heaven and hell in the one place. He got work in Hollywood, despite not being able to speak English, and continued to write highly political plays, such as Mutter Courage und ihre Kinder (1939), translated as Mother Courage and her Children (1941), Leben des Galilei (1943), translated as Life of Galileo(1947), and Der gute Mensch von Sezuan (1943), translated as The Good Person of Szechuan (1948). Politics for Brecht—at least in his theatre—means two things: on the one hand, there is the pleasure (but also the pain) of the acquisition of knowledge, while on the other hand, there is the torment of the impossible situation in which no ‘right’ decision can be made.
Brecht remained in the US until 1947, the year he was called before the House Un-American Activities Committee to account for his communist links. He was quickly blacklisted in Hollywood as a result, effectively making it impossible for him to continue working in the US. He returned to Europe, first to Switzerland, then to East Germany, where the Communist Government gave him his own theatre company, the soon-to-be world-renowned Berliner Ensemble, which continues to perform his works today, and his own theatre, The Theatre am Schiffbauerdamm, where The Threepenny Opera premiered. In his last years, Brecht wrote comparatively little, concentrating instead on directing his plays, which he toured to several European capitals, including Paris, where the young Roland Barthes was captivated.
Brecht is important to critical theory because he sought to make the theatre into a vehicle for political debate and in this regard he responded forcefully (perhaps more so than any other artist of the 20th century) to the challenge of creating an aesthetics that is neither simply art for art’s sake nor pure agitprop. His name is synonymous with Epic Theatre, a method of staging he devised over a number of years with the goal of making performances more intellectual. He famously said that theatre ought to be viewed with the same detachment and disinterested judgement as that with which boxing enthusiasts view fights. To achieve this estrangement-effect, as he called it, Brecht staged things so as to thwart the feeling of empathy audiences ‘naturally’ feel for what they see on stage. Technically this was achieved in a number of ways: actors were instructed to break out of their roles and comment on their characters, or else intertitles might be dropped from the ceiling narrating the action ahead of time so as to diminish suspense.
Further Reading:
F. Jameson Brecht and Method (1998).
P. Thompson and G. Sacks The Cambridge Companion to Brecht (2006).
J. Willett Brecht in Context: Comparative Approaches (1998).

54
Q

catachresis

A

The improper use of a word, or its misapplication. The financial pages of any newspaper abound with examples, e.g., ‘grow your business’, which misapplies an agricultural term. It can also mean the application of a word to a thing or action for which no proper word exists. For example, we ‘board’ trains and aeroplanes, but since these are both relatively recent inventions there was no pre-existing term to describe how one enters these machines so one was borrowed from seafaring. Similarly, catachresis can be a means of creating thought-provoking metaphors such as Nietzsche’s famous pronouncement that ‘truth is a woman’.

55
Q

chronotope

A

Literally ‘time-place’, it denotes the intrinsic interconnection of these two dimensions, but also connotes an author’s specific attitude to the passing of time and the location of events in a narrative. The chronotope, according to its inventor Russian linguist and literary critic Mikhail Bakhtin, is a formally constitutive category of literature, which means that it is a feature of every piece of literature. In other words, literature cannot not have a chronotopic dimension, but this dimension may vary quite considerably from example to example. Variations in the formation of chronotopes can be used to specify genre, Bakhtin suggests. His extensive historical account of the development of different types of chronotope in The Dialogic Imagination (1981) offers a vivid illustration of the importance of this concept. As he shows, in classical Greek narratives the hero often spends years away from home, having adventure after adventure, all without ever aging and when he returns home his youthful bride is still as youthful as she ever was. The departure from the constrictions of biological time is necessary for the type of tale being told and its peculiar effects clearly depend on this departure too. Chronotope should not be confused with duration or setting, which are surface features. See also carnivalesque; heteroglossia; polyphony.
Further Reading:
K. Clark and M. Holquist Mikhail Bakhtin (1984).
M. Holquist Dialogism (2002).
D. Lodge, After Bakhtin (1990).

56
Q

code

A
  1. In a famous and highly influential essay ‘The Television Discourse—Encoding and Decoding’ (1974) Stuart Hall used the notion of coding to map the different and potentially oppositional ways in which TV producers and consumers make and receive texts. Television producers may encode a text one way only to find that the audience decodes it in a completely different way (decoding in this sense is equivalent to Harold Bloom’s notion of creative misreading). Studies of fan culture, particularly the so-called slash versions of texts created by fans—that is, texts which appropriate characters from a popular show like Star Trek and write new stories in which they are made gay or bisexual—bear this out. Hall was particularly interested in trying to discern the ways in which the hegemonic viewpoint is embedded in texts in a natural-seeming fashion.
  2. In his late work S/Z (1970), translated as S/Z (1974), Roland Barthes attempted to classify all the different types of signifieds (see sign) to be found in a literary text according to five codes: the hermeneutic code (the posing of an enigma or riddle—the standard forms are: What has happened? What is going to happen?); the semic code (the multiple meanings or connotations specific words, phrases, and scenes may contain); the symbolic code (reversibility and transformation, the logic of dreams, fantasies, and the body); the proairetic code (code of action sequences, genres and tropes); and lastly the cultural code (the sum of tacit knowledge required to interpret a particular text, e.g., the stereotypes, proverbs and such like by which a culture gives itself particularity). The five codes are not mutually exclusive and it is possible (indeed almost impossible for it to be otherwise) for two or more codes to be present in the one place at the one time.
  3. Gilles Deleuze and Félix Guattari deploy the notion of coding in L’Anti-Oedipe (1972), translated as Anti-Oedipus (1977), to analyse the way desire is captured and channelled by social institutions. Coding subordinates the individual to the collective. It takes both an actual and virtual form—tribal tattoos, scarification, and so forth which renders group identity visible, but also collective belief in higher powers such as totems, and gods. They specify three separate processes: coding (the installation and policing of belief), decoding (separation from specific codes, either by means desacralization or secularization—it does not mean interpretation, as in Hall’s use of the term), and overcoding (the super-inscription of new codes over old—for example, the celebration of Easter incorporates both Christian and Pagan elements).