By Tony Bennett
Critical Trajectories: tradition, Society, Intellectuals brings jointly for the 1st time writings from one of many prime figures in cultural reports -- Tony Bennett. the decisions within the quantity span the interval from the overdue Seventies to the current, representing problems with enduring hindrance in Bennett's paintings over this era and all through his wide-ranging highbrow occupation.
- Charts the wide impression of Bennett’s pondering around the humanities and social sciences - from cultural historical past to museums and reminiscence, and from Bond and pop culture to cultural coverage and governance
- Tackles one of the most vital topics in cultural stories, together with aesthetics, textuality, the highbrow, and the position of cultural background
- Includes a brand new introductory essay pinpointing Bennett’s issues in altering highbrow and political contexts
Chapter 1 Severing the cultured Connection (pages 19–39):
Chapter 2 Texts, Readers, analyzing Formations (pages 40–53):
Chapter three Figuring Audiences and Readers (pages 54–67):
Chapter four tradition and Governmentality (pages 71–85):
Chapter five performing on the Social: paintings, tradition, and executive (pages 86–100):
Chapter 6 Archaeological post-mortem: Objectifying Time and Cultural Governance (pages 103–120):
Chapter 7 Civic Seeing: Museums and the association of imaginative and prescient (pages 122–137):
Chapter eight Intellectuals, tradition, coverage: The Technical, the sensible, and the serious (pages 141–162):
Chapter nine The old common: The function of Cultural price within the historic Sociology of Pierre Bourdieu (pages 163–182):
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Extra info for Critical Trajectories: Culture, Society, Intellectuals
And being determined from without, it thereby is determined from within, for internal factors determine it precisely as a literary work in its specificity and in connection with the whole literary situation, and not outside that situation. (Medvedev and Bakhtin, 1978: 29) What, then, is the nature of this interior determination which allows literature to contribute to its own social determination? For Medvedev and Bakhtin, the answer consists in literature’s differentiation from other semiotic systems as determined by the specific forms and devices through which it reflects and refracts reality: Literature is one of the independent parts of the surrounding ideological reality, occupying a special place in it in the form of definite, organised philological works which have their own specific structures.
In defining the category of literature, it is a matter of fitting it into the space mapped out for it within the already-determined triadic structure of epistemological reasoning. However, the terms in which that category is then empirically fleshed out derive from the quite different system of distinctions posited by a culturally relative hierarchy of forms. The result, not surprisingly, is a series of contradictions and torsions at the points where these different systems of not-statements meet and, since they cannot entirely be reconciled, mutually abrade one another.
The difficulties with this procedure are now sufficiently well known not to require further rehearsal. The consequences which follow from it, however, have been less remarked upon. At root, these stem from the fact that the procedure sits ill at ease with that through which the category of literature is defined as a category. So far as this is concerned, as we have seen, literature’s definition is governed by the statements that it is not science and not ideology. However, when it comes to the empirical task of filling that category, a different system of not-statements is brought into play: literature is not popular fiction or mass fiction.
Critical Trajectories: Culture, Society, Intellectuals by Tony Bennett