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XXX Stuart Hall, Gramsci und Neue rechte nach Thatcher -- Verso
Gramsci's question' in the Notebooks emerges in the aftermath of that moment, with the recognition that history was not going to go that way, especially in the advanced industrial capitalist societies of Western Europe. Gramsci had to confront the turning back, the failure, of that moment: the fact that such a moment, having passed, would never return in its old form. Gramsci, here, came face to face with the revolutionary character of history itself. When a conjuncture unrolls, there is no 'going back'. History shifts gears. The terrain changes. You are in a new moment. You have to attend, 'violently', with all the 'pessimism of the intellect' at your command, to the 'discipline of the conjuncture'.

In addition (and this is one of the main reasons why his thought is so pertinent to us today) he had to face the capacity of the Right - specifically, of European fascism - to hegemonise that defeat.

So here was a historic reversal of the revolutionary project, a new historical conjuncture, and a moment which the Right, rather than the Left, was able to dominate. This looks like a moment of total crisis for the Left, when all the reference points, the predictions, have been shot to bits. The political universe, as you have come to inhabit it, collapses.

I don't want to say that the Left in Britain is in exactly the same moment; but I do hope you recognise certain strikingly similar features, because it is the similarity between those two situations, that makes the question of the Prison Notebooks so seminal in helping us to understand what our condition is today. Gramsci gives us, not the tools with which to solve the puzzle, but the means with which to ask the right kinds of questions about the politics of the 1980s and 1990s. He does so by directing our attention unswervingly to what is specific and different about this moment. He always insists on this attention to difference. It's a lesson which the Left in Britain has yet to learn. We do tend to think that the Right is not only always with us, but is always exactly the same: the same people, with the same interests, thinking the same thoughts. We are living through the transformation of British Conservatism — its partial adaptation to the modern world, via the neo-liberal and monetarist 'revolutions'. Thatcherism has reconstructed Conservatism and the Conservative Party. The hard-faced, utilitarian, petty-bourgeois businessmen are now in charge, not the grouse-shooting, hunting and fishing classes. And yet, though those transformations are changing the political terrain of struggle before our very eyes, we think the differences don't have any real effect on anything. It still feels more 'left-wing' to say the old ruling-class politics goes on in the same old way.

Gramsci, on the other hand, knew that difference and specificity mattered. So, instead of asking 'what would Gramsci say about Thatcherism?' we should simply attend to this riveting of Gramsci to the notion of difference, to the specificity of a historical conjuncture: how different forces come together, conjuncturally, to create the new terrain, on which a different politics must form up.

Indeed, the project was organised, in the early stages, in opposition to the state, which in the Thatcherite view had been deeply corrupted by the welfare state and by Keynesianism and had thus helped to 'corrupt' the British people. Thatcherism came into existence in contestation with the old Keynesian welfare state, with social democratic 'statism', which, in its view, had dominated the 1960s. Thatcherism's project was to transform the state in order to restructure society: to decentre, to displace, the whole post-war formation; to reverse the political culture which had formed the basis of the political settlement — the historic compromise between labour and capital — which had been in place from 1945 onwards.

The depth of the reversal aimed for was profound: a reversal of the ground-rules of that settlement, of the social alliances which underpinned it and the values which made it popular. I don't mean the attitudes and values of the people who write books. I mean the ideas of the people who simply, in ordinary everyday life, have to calculate how to survive, how to look after those who are closest to them.

That is what is meant by saying that Thatcherism aimed for a reversal in ordinary common sense. The 'common sense' of the English people had been constructed around the notion that the last war had erected a barrier between the bad old days of the 1930s and now: the welfare state had come to stay; we'd never go back to using the criterion of the market as a measure of people's needs, the needs of society. There would always have to be some additional, incremental, institutional force — the state, representing the general interest of society — to bring to bear against, to modify, the market. I'm perfectly well aware that socialism was not inaugurated in 1945. I'm talking about the taken-for-granted, popular base of welfare social democracy, which formed the real, concrete ground on which any socialism worth the name has to be built.

It really is puzzling to say, in any simple way, whom Thatcherism represents. Here is the perplexing phenomenon of a petty-bourgeois ideology which 'represents', and is helping to reconstruct, both national and international capital. In the course of 'representing' corporate capital, however, it wins the consent of very substantial sections of the subordinate and dominated classes. What is the nature of this ideology which can inscribe such a vast range of different positions and interests in it, and which seems to represent a little bit of everybody — including most of the readers of this essay! For, make no mistake, a tiny bit of all of us is also somewhere inside the Thatcherite project. Of course, we're all one hundred per cent committed. But every now and then — Saturday mornings, perhaps, just before the demonstration — we go to Sainsbury's and we're just a tiny bit of a Thatcherite subject. How do we make sense of an ideology which is not coherent, which speaks now, in one ear, with the voice of free-wheeling, utilitarian, market-man, and in the other ear, with the voice of respectable, bourgeois, patriarchal man? How do these two repertoires operate together? We are all perplexed by the contradictory nature of Thatcherism. In our intellectual way, we think that the world will collapse as the result of a logical contradiction: this is the illusion of the intellectual - that ideology must be coherent, every bit of it fitting together, like a philosophical investigation. When, in fact, the whole purpose of what Gramsci called an organic (i.e. historically effective) ideology is that it articulates into a configuration different subjects, different identities, different projects, different aspirations. It does not reflect, it constructs a 'unity' out of difference.

1975 is the climacteric in British politics. First of all, the oil hike. Secondly, the onset of the capitalist crisis. Thirdly, the transformation of modern Conservatism by the accession of the Thatcherite leadership. That is the moment of reversal when, as Gramsci argued, national and international factors came together. It doesn't begin with Mrs Thatcher's electoral victory, as politics is not a matter of elections alone. It lands in 1975, right in the middle of Mr Callaghan's political solar plexus. It breaks Mr Callaghan — already a broken reed — in two. One half remains avuncular, paternalist, socially-conservative. The other half dances to a new tune. One of the siren voices, singing the new song in his ear, is his son-in-law, Peter Jay, one of the architects of monetarism, in his missionary role as economic editor at The Times. He first saw the new market forces, the new sovereign consumer, coming over the hill like the marines. And, hearkening to these intimations of the future, the old man opens his mouth; and what does he say? The kissing has to stop. The game is over. Social democracy is finished. The welfare state is gone forever. We can't afford it. We've been paying ourselves too much, giving ourselves a lot of phoney jobs, having too much of a swinging time.

She said, iron times; back to the wall; stiff upper lip; get moving; get to work; dig in. Stick by the old, tried verities, the wisdom of 'Old England'. The family has kept society together; live by it. Send the women back to the hearth. Get the men out on to the Northwest Frontier. Hard times — followed, much later, by a return to the Good Old Days. She asked you for a long leash — not one, but two and three terms. By the end, she said, I will be able to redefine the nation in such a way that you will all, once again, for the first time, since the Empire started to go down the tube, feel what it is like to be part of Great Britain Unlimited. You will be able, once again, to send our boys 'over there', to fly the flag, to welcome back the fleet. Britain will be Great again. People don't vote for Thatcherism, in my view, because they believe the small print. People in their right minds do not think that Britain is now a wonderfully booming, successful economy. But Thatcherism, as an ideology, addresses the fears, the anxieties, the lost identities, of a people.

Especially today, we live in an era when the old political identities are collapsing. We cannot imagine socialism coming about any longer through the image of that single, singular subject we used to call Socialist Man. Socialist Man, with one mind, one set of interests, one project, is dead. And good riddance. Who needs 'him' now, with his investment in a particular historical period, with 'his' particular sense of masculinity, shoring 'his' identity up in a particular set of familial relations, a particular kind of sexual identity? Who needs 'him' as the singular identity through which the great diversity of human beings and ethnic cultures in our world must enter the 21st century? This 'he' is dead: finished. Gramsci … [more]
stuarthall  gramsci  links  martin:politik  faschismus  thatcher 
yesterday by MicrowebOrg
Stuart Hall and the Rise of Cultural Studies | The New Yorker
"Culture, he argued, does not consist of what the educated élites happen to fancy, such as classical music or the fine arts. It is, simply, “experience lived, experience interpreted, experience defined.” And it can tell us things about the world, he believed, that more traditional studies of politics or economics alone could not."



"Broadly speaking, cultural studies is not one arm of the humanities so much as an attempt to use all of those arms at once. It emerged in England, in the nineteen-fifties and sixties, when scholars from working-class backgrounds, such as Richard Hoggart and Raymond Williams, began thinking about the distance between canonical cultural touchstones—the music or books that were supposed to teach you how to be civil and well-mannered—and their own upbringings. These scholars believed that the rise of mass communications and popular forms were permanently changing our relationship to power and authority, and to one another. There was no longer consensus. Hall was interested in the experience of being alive during such disruptive times. What is culture, he proposed, but an attempt to grasp at these changes, to wrap one’s head around what is newly possible?

Hall retained faith that culture was a site of “negotiation,” as he put it, a space of give and take where intended meanings could be short-circuited. “Popular culture is one of the sites where this struggle for and against a culture of the powerful is engaged: it is also the stake to be won or lost in that struggle,” he argues. “It is the arena of consent and resistance.” In a free society, culture does not answer to central, governmental dictates, but it nonetheless embodies an unconscious sense of the values we share, of what it means to be right or wrong. Over his career, Hall became fascinated with theories of “reception”—how we decode the different messages that culture is telling us, how culture helps us choose our own identities. He wasn’t merely interested in interpreting new forms, such as film or television, using the tools that scholars had previously brought to bear on literature. He was interested in understanding the various political, economic, or social forces that converged in these media. It wasn’t merely the content or the language of the nightly news, or middlebrow magazines, that told us what to think; it was also how they were structured, packaged, and distributed.

According to Slack and Lawrence Grossberg, the editors of “Cultural Studies 1983,” Hall was reluctant to publish these lectures because he feared they would be read as an all-purpose critical toolkit rather than a series of carefully situated historical conversations. Hall himself was ambivalent about what he perceived to be the American fetish for theory, a belief that intellectual work was merely, in Slack and Grossberg’s words, a “search for the right theory which, once found, would unlock the secrets of any social reality.” It wasn’t this simple. (I have found myself wondering what Hall would make of how cultural criticism of a sort that can read like ideological pattern-recognition has proliferated in the age of social media.)

Over the course of his lectures, Hall carefully wrestles with forebears, including the British scholar F. R. Leavis and also Williams and Hoggart (the latter founded Birmingham University’s influential Center for Contemporary Cultural Studies, which Hall directed in the seventies). Gradually, the lectures cluster around questions of how we give our lives meaning, how we recognize and understand “the culture we never see, the culture we don’t think of as cultivated.” These lectures aren’t instructions for “doing” cultural studies—until the very end, they barely touch on emerging cultural forms that intrigued Hall, such as reggae and punk rock. Instead, they try to show how far back these questions reach."



"Hall found ready disciples in American universities, though it might be argued that the spirit which animated cultural studies in England had existed in the U.S. since the fifties and sixties, in underground magazines and the alternative press. The American fantasy of its supposedly “classless” society has always given “culture” a slightly different meaning than it has in England, where social trajectories were more rigidly defined. What scholars like Hall were actually reckoning with was the “American phase” of British life. After the Second World War, England was no longer the “paradigm case” of Western industrial society. America, that grand experiment, where mass media and consumer culture proliferated freely, became the harbinger for what was to come. In a land where rags-to-riches mobility is—or so we tend to imagine—just one hit away, culture is about what you want to project into the world, whether you are fronting as a member of the élite or as an everyman, offering your interpretation of Shakespeare or of “The Matrix.” When culture is about self-fashioning, there’s even space to be a down-to-earth billionaire."
2017  stuarthall  culture  culturalstudies  huahsu  arts  crossdisciplinary  multidisciplinary  interdisciplinary  transdisciplinary  popularculture  richardhoggart  raymondwilliams  humanities  resistance  consent  jenniferdarylslack  lawrencegrossberg  frleavis  society  canon  marxism 
december 2017 by robertogreco
Why We Need Stuart Hall’s Imaginative Left | New Republic
As Hall would later say in interviews, he arrived in England when it was transitioning from “a class society to a mass society”: a moment marked by the influx of immigrants, the breakup of so-called “traditional” culture in favor of Americanization, and the rise of socially conservative, free-market politics. // what, in 1951, the year of the biggest vote for socialism in our history? I don't think he did say that. despite this and a few other editing howlers, not actually bad
biography  stuarthall 
october 2017 by yorksranter
Why We Need Stuart Hall’s Imaginative Left | New Republic
To understand politics, “you have to go to art—to where people imagine, where they fantasize, where they symbolize.”
stuarthall  sociology  culture 
september 2017 by claudia
KUT » Stuart Hall: In Conversations by Ben Carrington & Rebecca McInroy on iTunes
"Explore the life, work and legacy of a thinker that some call the last of the great public intellectuals and a figure widely credited with being the founder of cultural studies: this man is Stuart Hall. Through conversations with his former students, colleagues, and friends, we’ll seek to better understand this seminal writer and academic."
stuarthall  tolisten  2016 
january 2017 by robertogreco
Barbarism or Barbarism? | Public Seminar
"The guardians won’t help us. The institutional forms of technical and scientific inquiry won’t help us much either. We’re on our own. Stengers: “…we cannot impose on those who are responsible for the disasters that are looming the task of addressing them. It is up to us to create a manner of responding for ourselves.” (41)

That to which we have to respond Stengers names the intrusion of Gaia. We have to think in the manner this naming calls into being. In Hesiod’s Theogony, Gaia is the first mother who brought forth Uranus, the sky, and with him bore the Titans, including Chronos, their leader. Chronos overthrew Uranus and ruled over the Golden Age, before being defeated in turn by his own son, Zeus. For Stengers, Gaia is a blind and indifferent God, a figure for a time before Greek Gods had scruples.

Gaia is a name that conjures up ancient myths, and became something of a hippie mantra, but oddly enough was popularized by a scientific theory offered by James Lovelock and Lynn Margulis, in which organisms co-evolve with their environments and form ‘ecological, self-regulating systems. For Stengers, the complicated history of the deployments of the term is actually part of its appeal.

Stengers wants a name for a nature that is neither vulnerable nor threatening nor exploitable, but which asks nothing of us at all. Gaia is a “forgotten form of transcendence.” (47) Maybe a negative one, as Gaia is neither an arbiter, guarantor or resource. Gaia intrudes into human lives and perceptions, but there’s no reciprocity. There’s no channel for what elsewhere I called xeno-communication. Nobody can claim to the the high priest or priestess of Gaia. But there is no future in which we are free to ignore her. “We will have to go on answering for what we are undertaking in the face of an implacable being who is deaf to our justifications.” (47)

It’s a rhetorically risky move, perhaps especially in the United States, where talk of Gaia might naturally default to a kind of hippie romantic mysticism. But then there are only rhetorically risky moves available, so perhaps its worth a shot. Stengers insists that her invocation of Gaia is not anti-scientific, and may even encourage scientists to think. But in general, she thinks that when it comes to the present danger, the scientists have done their work of warning us about where we really are.

One’s sense of rhetorical tactics may be more a product of perceptions of local contingencies than of anything else. In the context in which I find myself, I feel obligated to tack a little harder towards shoring up respect for scientific forms of knowing the world. In the United States, the tactics being used against climate and earth scientists can only be described as a McCarthyite witch hunt.

But as Stengers makes plain, there’s a lot of different things one can mean when one says ‘science’. Some of which are not really forms or practices of knowing at all. There’s no shortage of economic ‘science’ being deployed to justify business as usual. Those who pledged their soul to the eternal forward march of commodification are incapable of panic or reflection. For them, there is no situation, not matter how God-forsaken, that is not an ‘opportunity.’

Stengers: “Those who say to us ‘Marx is history’, with an obscene, satisfied little smile, generally avoid saying to us why capitalism as Marx described it is no longer a problem. They only imply that it is invincible. Today those who talk about the vanity of struggling against capitalism are de facto saying ‘barbarism is our destiny.’” (51) Capitalism fabricates its own necessity, which for Paul Burkett is what the rule of exchange value basically amounts to. Capitalism is a mode of transcendence that is not inevitable, just radically irresponsible. “Capitalism doesn’t like noise.” (54) It is hell-bent on eliminating signals that are not market signals, which are what appear to it as noise.

And yet for all that, Stengers is reluctant to collapse everything into the figure of capital. As I have argued elsewhere, talking about the capitalocene runs the risk of ignoring certain new information, what Stengers calls the intrusion of Gaia, for which I have used the more conventional designation of the Anthropocene. Stengers: “I also dread that is might incite those who resist only to pay lip service to the idea that global warming is effectively a new problem, following it immediately with the demonstration that this problem, like all others, should be blamed on capitalism, and then by that conclusion that we must therefore maintain our heading, without allowing ourselves to be troubled by a truth that must not upset the prospects for the struggle.” (56)

It is a matter of learning to compose with Gaia instead: “Naming Gaia, she who intrudes, signifies that there is no afterwards.” (57) That means letting go of an epic materialism in which nature is there as a resource for human conquest. Where obstacles exist only as the narrative pretext for Promethean leaps – as in children’s stories. One can no longer claim a right not to pay attention to all that Gaia stands-in for. Both those who think capital can be negated and those who think it can only be accelerated are called to account for their inattention here.

This civilization, such as it is, turns out the be as blind as its predecessors. Even when there is attention to the ‘environment’, it is so often still framed as a question of a resource to be preserved rather than used. Precautions against dangerous products do not really challenge the “sacred right of the entrepreneur.” (63) Which is to not pay attention to anything much other than the aura of the brand, and tactics of competitors and maximizing shareholder value. Risk is the price of progress. The entrepreneur makes the Promethean leap, even if nobody much believes any more that anyone else is likely to benefit."



"The enemy of both humanistic thought and the open inquiry of the sciences is a kind of stupidity. This now even affects the rentiers who defend the enlightenment, who really defend privilege, and have lost all sense of adventure and risk. (Stengers gives no examples, but I can’t help thinking of the sad trajectory of Richard Dawkins.) Rather than critique which claims to see through to the root or the essence, or to ground everything else in an ontology of first things, Stengers like Deleuze prefers the world of second and third things, of thinking through the middle, or the milieu.

It is a time, then, for minor knowledge, which questions the order words of Promethean modernization. The guardians keep the floodgates – as they see them – closed to questioning. We have to learn to pose our own questions. And refuse the answers when the questions to which they answer are answers for nobody, for whoever, rather than answers for us. And all that without investing too much faith in one or other belief that we know what we’re doing: “… it is not a matter of converting us but of repopulating the devastated desert of our imaginations.” (132)

Among the traps to avoid are being captured by expertise, and avoiding confrontations that polarize the terrain and empty them of everything but the interests of opposing camps. One must try to “make the experts stutter” in a milieu poisoned by stupidity. (138) One must fabricate trust which not only respects differences but divergences. We’re not on the same path or ever going to be. There’s no way to totalize differences. There’s no way to ‘penetrate’ appearances and get to the truth in advance. “The desperate search for that which, being ‘natural’ would supposedly have no need of any artifice, refers in fact, once more and as ever, to the hatred of the pharmakon, of that whose use implies an art.” (144)

I would count Stengers (as I count myself) as a realist of the procedure rather than of the object of knowledge. We can know something of how we got the result. We can’t know much about ontology, or nature, or the real. It takes an inhuman apparatus to make the nonhuman appear to the human. Stengers: “a scientific interpretation can never impose itself without artifice, without experimental fabrications, the invention of which empassions them much more than the ‘truth.’” (146) Stengers goes elsewhere than the recent ontological turn in thought, but not back to the old obsession with epistemology, which was just as prone to want rules for proper ways of knowing as ontology wants methods for the proper way to the unveiled object."
mckenziewark  2015  donnaharaway  jasonmoore  timothymorton  paulburkett  robnixon  isabellestrengers  gaia  wendybrown  neoliberalism  marxism  capitalism  latecapitalism  gmps  science  invisiblecommittee  stuarthall  richardstallman  moulierboutang  paolovirno  mauriziolazzarato  francoberardi  antonionegri  michaelhardt  deleuze 
january 2016 by robertogreco
Herbert Pimlott: Stuart Hall, Marxism Today and the “Making” of Counter-Hegemonic Politics under Thatcherism - CAMRI - University of Westminster, London
Dr Herbert Pimlott’s research focuses on a cultural materialist approach to grassroots cultural production, alternative media, strategic communications, radical journalism and the ‘structures of feeling’ of the 1970s and 1980s. In addition to teaching communication and cultural studies at Wilfrid Laurier University, Dr Pimlott runs media workshops for anti-poverty and labour activists, and writes and speaks on the ‘casualisation of the academy’. He is at present working on two books, including one on media activism.
stuarthall  marxism2.0 
october 2015 by MicrowebOrg
Stuart Hall: Critical Dialogues in Cultural Studies - critical-dialogues-in-cultural-studies.pdf
ebook (pdf) Full Text!!
-- Hall Interview über Articulation als O-Text
-- u.a. Hebdige
stuarthall 
september 2014 by MicrowebOrg
Articulation (sociology) - Wikipedia, the free encyclopedia
Articulating principles "operate by combining existing elements into new patterns or by attaching new connotations to them". Examples of these processes in musical culture include the re-use of elements of bourgeois marches in labor anthems or the assimilation of liberated (in the Marcusian sense) countercultural 1960s rock into a tradition of bourgeois bohemianism and the combination of elements of black and white working-class music with elements of art music that created countercultural 1960s rock. (ibid, pp. 8–9)

Some scholars may prefer the theory of articulation, where "class does not coincide with the sign community",[3] to the theory of homology, where class does coincide with the sign community and where economic forces determine the superstructure. However, "it seems likely that some signifying structures are more easily articulated to the interests of one group than are some others" and cross-connotation, "when two or more different elements are made to connote, symbolize, or evoke each other", can set up "particularly strong articulative relationships". For example: Elvis Presley's linking of elements of "youth rebellion, working-class 'earthiness', and ethnic 'roots', each of which can evoke the others, all of which were articulated together, however briefly, by a moment of popular self-assertion".
articulation  assemblage  stuarthall 
september 2014 by MicrowebOrg
!!! Assemblage (composition) - Wikipedia, the free encyclopedia
Selber and Johnson-Eilola, Plagiarism, Originality, Assemblage, Computers and Composition, Vol. 24, No. 4. (2007), pp. 375–403

Hall, Stuart. (1986). On postmodernism and articulation: An interview with Stuart Hall (Lawrence Grossberg, Ed.) Journal of Communication Inquiry, 5, 35–60. Rpt. in Stuart Hall: Critical dialogues in cultural studies. (1996). David Morley & Kuan-Hsing Chen (Eds.). London: Routledge.

-----------------

Assemblage refers to a text "built primarily and explicitly from existing texts to solve a writing or communication problem in a new context".[1] The concept was first proposed by Johndan Johnson-Eilola (author of Datacloud) and Stuart Selber in the journal Computers & Composition in 2007. The notion of assemblages builds on remix and remix practices, which blur distinctions between invented and borrowed work.

... participation in existing discourse necessarily means that composition cannot occur separate from that discourse. They state that "productive participation involves appropriation and re-appropriation of the familiar" in a manner that conforms to existing discourse and audience expectations. In reference to intertextuality, Johnson-Eilola and Selber cite The Social Life of Information by John Seely Brown and Paul Duguid.[2] In this book Brown and Duguid state that the meaning of and use for a text is directly influenced both by its source texts and the broader textual context in which it participates.

Building upon this notion, Johnson-Eilola and Selber position assemblage as a style of composition situated within postmodernism. They state that "in a general sense, postmodern theories, and following them, cultural studies, offer a useful way of understanding assemblages (and the related process of remixing) as simultaneously social and textual structures."

Michael J. Michaud writes that "assemblages are ubiquitous in contemporary workplaces" where problem solving is paramount because assemblage allows authors to "meet discursive needs and to get work done."[3] He further argues that students with workplace experience often transfer assemblage writing into the composition classroom. Assemblage allows such authors to alter existing texts and combine them with original work in order to meet the demands of a writing situation or problem.

While a remix is a synthesis or incorporation of elements, an assemblage is a combination in which there are recognizable boundaries between elements.

Assemblage and remix are also related to articulation. The sociological practice of articulation, as described by Antonio Gramsci and Stuart Hall, among others, refers to the appropriation of elements of culture by various social groups.[5] Johnson-Eilola and Selber connect assemblage, remix, and articulation as examples of meaning being situated in a specific material and social context.

A central characteristic of assemblages is the challenge to established notions of originality. Johnson-Eilola and Selber claim that the traditional distinction between original and plagiarized work is that original work is superior in terms of creative effort and is not derivative. They further assert that such a distinction is based upon outdated notions of "the lone genius" and is no longer practical in an academic setting. While they concede that "teachers no longer evaluate writing completely as an isolated, decontextualized artifact," Johnson-Eilola and Selber maintain "at least one set of social forces suggests to students that using citations and quotations from source materials will be valued less than their own original text, a situation that may encourage them to conceal their sources."

In support for their argument against the traditional view plagiarism, Johnson-Eilola and Selber cite current critiques from other scholars. They refer to Price, who argued that plagiarism cannot be defined as a single concept, but is dependent upon the cultural practice and conventions in a given situation. [6] They also acknowledge a presentation given by James Porter in 2006 at CCCC. In his presentation Porter described how plagiarism is sometimes encouraged in the academic community, offering examples of "ways teachers plagiarize all the time—among them, sharing syllabi (with plagiarized plagiarism statements!), using boilerplate text for administrative documents, and failing to acknowledge the bibliographic work of others."[7] Johnson-Eilola and Selber also refer to a 1993 article by Rebecca Moore Howard on "patchwriting," which describes a technique used by new authors. Patchwriting "involves copying from a source text then deleting some words, altering grammatical structures, or plugging in one-to-one synonym-substitutes."[8] This technique can traditionally be viewed as a form of plagiarism, but it is also considered useful for learning how to communicate within expert discourse. Johson-Eilola and Selber reference patchwriting in an attempt to demonstrate the practical uses of otherwise "plagiaristic" practices, not to establish a connection between patchwriting and assemblage. While patchwriting can be a useful learning tool, it is completely distinct from assemblage. Assemblage is more than the systematic replacement of like terms and is closer to the artistic style of collage.
assemblage  articulation  stuarthall  culturalstudies  schavan  mikrobuch:schavan  mikrobuch:hirntod 
september 2014 by MicrowebOrg

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