Anti-conformism and Art. Conceptual Construction

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Atanas Totlyakov ◽  
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Also inherent to the art is social side, which in essence connects the artist and society into a dynamic interaction. This text includes interpretation of the inherent to social psychology concepts of conformism and anti-conformism, following the lines of Theodor Adorno and Walter Benjamin for art as a public antithesis. Draw up a definition of anti-conformist art, based on conflict caused by the resistance against the conformist pressure of the majority.

Author(s):  
Gabriela Cruz

Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gas lighting and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin, and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le diable, L’Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin, and Tristan und Isolde), and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria.


2010 ◽  
Vol 17 (2) ◽  
pp. 207-241 ◽  
Author(s):  
Francis Cornish

The traditional definition of anaphora in purely co-textual terms as a relation between two co-occurring expressions is in wide currency in theoretical and descriptive studies of the phenomenon. Indeed, it is currently adopted in on-line psycholinguistic experiments on the interpretation of anaphors, and is the basis for all computational approaches to automatic anaphor resolution (see Mitkov 2002). Under this conception, the anaphor, a referentially-dependent expression type, requires “saturation” by an appropriate referentially-autonomous, lexically-based expression — the antecedent — in order to achieve full sense and reference. However, this definition needs to be re-examined in the light of the ways in which real texts operate and are understood, where the resulting picture is rather different. The article aims to show that the co-textual conception is misconceived, and that anaphora is essentially an integrative, discourse-creating procedure involving a three-way relationship between an “antecedent trigger”, an anaphoric predication, and a salient discourse representation. It is shown that it is only in terms of a dynamic interaction amongst the interdependent dimensions of text and discourse, as well as context, that the true complexity of anaphoric reference may be satisfactorily described. The article is intended as a contribution to the broader debate within the pages of this journal and elsewhere between the formalist and the functionalist accounts of language structure and use.


Contention ◽  
2021 ◽  
Vol 9 (1) ◽  
pp. 142-148
Author(s):  
Andrew G. Livingstone

AK Thompson’s “Ten Theses” is a timely and compelling piece. It challenges collective action scholars to address the nature, bases, and consequences of violence and physical force in a manner that does not position these as anomalous or outside the bounds of “normal” or “normative” action (a tendency that sees violence and physical force more regularly addressed on the other side of soft academic borders, such as that separating social movement and protest scholars from scholars of “terrorism”). I want to address this challenge here by reflecting on what my “home” discipline of social psychology can offer in terms of insights, and (more importantly) what blind spots and limitations remain. For convenience, I adopt a rather conventional and narrow working definition of “violence” as involving physical force, rather than a broader (but equally valid) definition that encompasses any act (including speech) that can cause hurt or harm.


2020 ◽  
pp. 52-99
Author(s):  
Ole Jakob Løland

Taubes’s readings of Paul demonstrate a hermeneutical art of disagreement within the intellectual life of post-Holocaust Europe. Taubes is a reader who looks for intellectual enemies with whom he can achieve a true disagreement without dismissing their true insights, whether they are historical or philosophical. This hermeneutic is not unattached to Taubes’s Jewish background but reflects a Talmudic spirit inherent within Taubes’s idiosyncratic readings of Paul. Moreover, Taubes’s readings are attuned to nuances, ambivalences, and contradictions within Paul, as Taubes powerfully demonstrates in his exegesis of 1 Corinthians. With the help of Nietzsche’s polemical reading of this Pauline epistle, Taubes detects the instances where Paul’s doctrine of the cross revolutionizes ancient perceptions and passages that contain the power to neutralize this very same conceptual revolution. This results in Taubes’s image of a contradictory apostle, who can be used throughout history for various purposes. In Taubes’s case, Paul becomes a messianic thinker and part of Taubes’s efforts to establish a powerful synthesis of the insights of Walter Benjamin and Carl Schmitt—against what Taubes considers as the merely aesthetic tradition of “critical theory” in Theodor Adorno that remains indifferent to the historical struggles of the excluded.


2018 ◽  
pp. 124-160
Author(s):  
David Lloyd

“The Aesthetic Taboo” concerns the place of primitive anthropology in the aesthetic theory of Walter Benjamin and Theodor Adorno. It traces the influence of Freud’s Totem and Taboo through their work, in the concepts myth, magic, and aura. Neither thinker ever manages to escape the historical narrative of aesthetics: the transition from a state of necessity that defines the Savage as pathological subject, through a state of domination to an ideal state of freedom. Adorno and Benjamin continue to think within the traditions of Kant and Schiller. Yet in Aesthetic Theory magic images the sensuous remnant in the artwork that withstands rationalization. This “pathological” moment restores to the aesthetic its foundations in pleasure and pain and demands the destruction of the racial regime of representation. Its analogy with the Subaltern suggests another conception of life in common, predicated on the pains and pleasures of the pathological subject.


2005 ◽  
pp. 139-170 ◽  
Author(s):  
Richard J. Varey

Whilst many proponents of “interactive communication” and “social interaction” do not see the concept as problematic, they focus attention on practices. I choose to re-examine both “interaction” and “communication,” and to relate these concepts to the concepts of society and organisation/corporation1. The concept of “interaction” is examined, and social interaction is considered as exchange. The patterning of social interaction in markets, bureaucracies, solidarity groupings, and co-operative collectives, and their respective core values are considered. The “organization” is explained as a complex dynamic interaction system. An alternative sociological analysis of the social is compared with that of the social psychology tradition. Communication is discussed as a mode of interaction, to reveal monologic and dialogic conceptions of communication. Conclusions are raised around the themes of “interactive communication,” IT, and dialogue and appreciation in a society constituted by interaction. Interaction, it is concluded, requires presence, whereas ICT allows absence.


Author(s):  
Robert S. Lehman

The Introduction examines three moments that have proven foundational for the fraught relationship between poetry and history. The first occurs in the fourth century B. C. in Aristotle’s Poetics, the earliest attempt to provide a systematic definition of the structure and effects of poetry and, consequently, the origin of all later crises of verse. The second appears in Marx’s Eighteenth Brumaire, a text that offers a complicated poetic response to a moment of crisis in Marx’s own historical method. The third appears in the early writings of Friedrich Nietzsche, where, against the onset of the nineteenth-century science of history, the demand to see history become poetry is made explicit. Focusing on these three moments, the Introduction establishes the intellectual-historical coordinates of the poetico-historical problem that T. S. Eliot and Walter Benjamin inherit.


Paragraph ◽  
2009 ◽  
Vol 32 (3) ◽  
pp. 292-312 ◽  
Author(s):  
Thomas Elsaesser

The ‘turn’ to emotion and affect in film and media studies may take its distance from earlier ways of understanding spectatorial involvement (modelled on psychoanalytic notions of identification). But such approaches, whether cognitivist in intent, or inspired by phenomenology, also return to an earlier interest in bodily sensations and somatic responses when exposed to sudden motion and moving images (associated with ideas such as innervation, shock and over-stimulation). The essay proposes to bring Walter Benjamin into the debate, with a term central to his idea of modernity, namely ‘experience’, and to revive his distinction between Erfahrung and Erlebnis. Noting certain features of excess and liminiality in contemporary cinema, and mapping them across the three distinct domains of body, time and agency, Benjamin's own attempt to locate the emotional core of the technical media is reappraised. Grounded in the peculiar variability but also interdependence of place, narration and perception, the cinema would then appear to provide Erlebnis without Erfahrung, a state formerly associated with trauma, but now the very definition of the media event.


Author(s):  
Raffael Kalisch ◽  
Marianne B. Müller ◽  
Oliver Tüscher

AbstractWe are delighted by the broad, intense, and fruitful discussion in reaction to our target article. A major point we take from the many comments is a prevailing feeling in the research community that we need significantly and urgently to advance resilience research, both by sharpening concepts and theories and by conducting empirical studies at a much larger scale and with a much more extended and sophisticated methodological arsenal than is the case currently. This advancement can be achieved only in a concerted international collaborative effort. In our response, we try to argue that an explicitly atheoretical, purely observational definition of resilience and a transdiagnostic, quantitative study framework can provide a suitable basis for empirically testing different competing resilience theories (sects. R1, R2, R6, R7). We are confident that it should be possible to unite resilience researchers from different schools, including from sociology and social psychology, behind such a pragmatic and theoretically neutral research strategy. In sections R3 to R5, we further specify and explain the positive appraisal style theory of resilience (PASTOR). We defend PASTOR as a comparatively parsimonious and translational theory that makes sufficiently concrete predictions to be evaluated empirically.


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