mikhailbakhtin   18

The Carnival We Need / Tara Isabella Burton (The American Interest, 2019/10/07)
“Today, however, everything has become carnival. Disruption is no longer a source of terror, but rather a highly marketable branding term. Parties like the McKittrick’s are less transgressive, within the framework of urban, largely-liberal cosmopolitan American culture, than they are de rigeur, maybe even a little boring. (The biggest threat to the McKittrick’s aesthetic prestige, after all, may be that the boring Wall Street bros have started going there). Witchcraft is now a sufficiently normalized pastime to have reached—however briefly—the shelves of Urban Outfitters. Folk magic is something you do on your way to work, the way you’d listen to a meditation app like Headspace. The once-dangerous vagaries of kink—sexual practices that derive their very frisson from their taboo nature—are now central to the plot of the best-selling book of all time: erotic pastiche Fifty Shades of Gray.”
Carnivalesque  Carnivalism  TaraIsabellaBurton  MikhailBakhtin  MustRead 
9 weeks ago by cbearden
Peripetatic Humanities - YouTube
"A lecture about Mark Sample's "Notes Toward a Deformed Humanities," featuring ideas by Lisa Rhody, Matt Kirchenbaum, Steve Ramsay, Barthes, Foucault, Bahktin, Brian Croxall, Dene Grigar, Roger Whitson, Adeline Koh, Natalia Cecire, and Ian Bogost & the Oulipo, a band opening for The Carpenters."
kathiinmanberens  performance  humanities  deformity  marksample  lisarhody  mattkirchenbaum  steveramsay  foucault  briancroxall  denegrigar  rogerwhitson  adelinekoh  ianbogost  oulipo  deformance  humptydumpty  repair  mikhailbakhtin  linearity  alinear  procedure  books  defamiliarization  reading  howweread  machines  machinereading  technology  michelfoucault  rolandbarthes  nataliacecire  disruption  digitalhumanities  socialmedia  mobile  phones  making  computation  computing  hacking  nonlinear 
february 2018 by robertogreco
some thoughts on the humanities - Text Patterns - The New Atlantis
"The idea that underlies Bakhtin’s hopefulness, that makes discovery and imagination essential to the work of the humanities, is, in brief, Terence’s famous statement, clichéd though it may have become: Homo sum, humani nihil a me alienum puto. To say that nothing human is alien to me is not to say that everything human is fully accessible to me, fully comprehensible; it is not to erase or even to minimize cultural, racial, or sexual difference; but it is to say that nothing human stands wholly outside my ability to comprehend — if I am willing to work, in a disciplined and informed way, at the comprehending. Terence’s sentence is best taken not as a claim of achievement but as an essential aspiration; and it is the distinctive gift of the humanities to make that aspiration possible.

It is in this spirit that those claims that, as we have noted, emerged from humanistic learning, must be evaluated: that our age is postmodern, posthuman, postsecular. All the resources and practices of the humanities — reflective and critical, inquiring and skeptical, methodologically patient and inexplicably intuitive — should be brought to bear on these claims, and not with ironic detachment, but with the earnest conviction that our answers matter: they are, like those master concepts themselves, both diagnostic and prescriptive: they matter equally for our understanding of the past and our anticipating of the future."
alanjacobs  posthumanism  2016  humanities  understanding  empathy  postmodernism  postsecularism  georgesteiner  kennethburke  foucault  stephengrenblatt  via:lukeneff  erikdavis  raykurzweil  claudeshannon  mikhailbakhtin  terence  difference  comprehension  aspiration  progress  listening  optimism  learning  inquiry  history  future  utopia  michelfoucault 
july 2017 by robertogreco
Random thoughts on Charlie Hebdo | Snakes and Ladders
"1) I don’t think the most important question about what happened is “Do we support Charlie Hebdo?” I think the most important question is, “Do we support, and are we willing to fight for, a society in which people who make things like Charlie Hebdo can work in peace and sleep in their beds each night without fear?”

2) Freddie deBoer wrote,
Peter Beinart and Ross Douthat and Jon Chait and hundreds more will take the time in the week to come to beat their chests and declare themselves firmly committed to brave ideas like “murder is bad” and “free speech is good.” None of them, if pressed, would pretend that we are at risk of abandoning our commitment against murder or in favor of free speech. None of them think that, in response to this attack, we or France or any other industrialized nation is going to pass a bill declaring criticism of Islam illegal.

That last sentence is true enough, as far as it goes. But it doesn’t go nearly far enough. The measure of freedom of speech in a society is not simply a matter of what laws are or are not passed. We must also ask which existing laws are or are not enforced; and what self-censorship people perform out of fear that their societies will not or cannot protect them. Freddie writes as though freedom of speech can be adequately evaluated only by reference to the situation de jure; but there are de facto issues that must also be considered.

3) One of the more interesting comments on this whole affair is that of Giles Fraser:
In one sense an iconoclast is someone who refuses the established view of things, who kicks out against cherished beliefs and institutions. Which sounds pretty much like Charlie Hebdo. But the word iconoclast also describes those religious people who refuse and smash representational images, especially of the divine. The second of the Ten Commandments prohibits graven images – which is why there are no pictures of God in Judaism or Islam. And theologically speaking, the reason they are deeply suspicious of divine representation is because they fear that such representations of God might get confused for the real thing. The danger, they believe, is that we might end up overinvesting in a bad copy, something that looks a lot like what we might think of as god, but which, in reality, is just a human projection. So much better then to smash all representations of the divine.

And yet this, of course, is exactly what Charlie Hebdo was doing. In the bluntest, rudest, most scatological and offensive of terms, Charlie Hebdo has been insisting that the images people worship are just human creations – bad and dangerous human creations. And in taking the piss out of such images, they actually exist in a tradition of religious iconoclasts going back as far as Abraham taking a hammer to his father’s statues. Both are attacks on representations of the divine. Which is why the terrorists, as well as being murderers, are theologically mistaken in thinking Charlie Hebdo is the enemy. For if God is fundamentally unrepresentable, then any representation of God is necessarily less than God and thus deserves to be fully and fearlessly attacked. And what better way of doing this than through satire, like scribbling a little moustache on a grand statue of God.

I would love to agree with this, but can’t quite. All iconoclasm is not alike. Reading Fraser’s essay I found myself remembering Mikhail Bakhtin’s great essay “From the Prehistory of Novelistic Discourse,” in which he compares ancient and medieval parody with its modern equivalent.
Ancient parody was free of any nihilistic denial. It was not, after all, the heroes who were parodied, nor the Trojan War and its participants; what was parodied was only its epic heroization; not Hercules and his exploits but their tragic heroization. The genre itself, the style, the language are all put in cheerfully irreverent quotation marks, and they are perceived against a backdrop of contradictory reality that cannot be confined within their narrow frames. The direct and serious word was revealed, in all its limitations and insufficiency, only after it had become the laughing image of that word — but it was by no means discredited in the process.

By contrast, “in modem times the functions of parody are narrow and unproductive. Parody has grown sickly, its place in modem literature is insignificant. We live, write and speak today in a world of free and democratized language: the complex and multi-leveled hierarchy of discourses, forms, images, styles that used to permeate the entire system of official language and linguistic consciousness was swept away by the linguistic revolution of the Renaissance.” Parody for us is too often merely iconoclastic, breaking images out of juvenile delight in breaking, not out of commitment to a reality too heteroglot (Bakhtin’s term) to fit within the confines of standardized religious practices. I think Charlie Hebdo is juvenile in this way.

But feel free agree with that judgment or not — it’s not germane. As I said, the truly vital question here is not whether the magazine’s satire is worthwhile. The truly vital question is how badly — if at all — we want to live in a society where people who make such magazines can live without fear of losing their lives."
alanjacobs  charliehebdo  2015  satire  politics  gilesfraser  mikhailbakhtin  heroes  heroization  heteroglots  parody  society  freddiedeboer  freedom  #JeSuisCharlieHebdo  france  freespeech  freedomofspeech  islam  gravenimages  middleages  medieval  renaissance  power  language  linguistics  religion  #JeSuisCharlie 
january 2015 by robertogreco

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