Through groundbreaking analyses of cultural texts, Ebert questions the contemporary Derridian dogma that asserts "the future belongs to ghosts." Events-to-come are not spectral, she contends, but the material outcome of global class struggles. Not "hauntology" but history produces cultural practices and their conflictive representations--from sexuality, war, and consumption to democracy, torture, globalization, and absolute otherness. With close readings of texts from Proust and Balzac to "Chick Lit," from Lukács, de Man, Deleuze, and Marx to Derrida, Žižek, Butler, Kollontai, and Agamben, the book opens up new directions for cultural critique today.
Text and Culture was first published in 1989. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In Text & Culture, Daniel Cottom examines the political aspects of contemporary disciplines of interpretation. He pleads against limiting the act of reading by disqualifying some readings as "wrong" or unscholarly, and he argues for the necessity of multiple readings, claiming that a closed-off text glosses over differences that are political in nature. He proceeds, then, from the notion of text to culture. Just as the reading of the text is conditioned by irreducible political differences, so is the reading of culture. Finally, to illustrate and further develop his arguments, Cottom presents an extensive analysis of Great Expectations.
Cottom's materials range from academic jokes to King Lear, and the writers he discusses range from Kant to Derrida, from Freud to Basil Bernstein, from Ludwig Wittgenstein and Bronislaw Malinowski to Erving Goffman, Clifford Geertz, and Stanley Fish. This study is especially concerned with the way "culture" and related terms, such as "context" and "norm," are part of a larger discourse in the contemporary humanities and social sciences - a discourse in which their effect is to repress recognition of important historical differences, conflicts, and possibilities. At the same time that he shows how difficult it is to get "beyond culture," he tries to indicate how interpretation may be turned into a more socially responsible practice.
Daniel Cottom is associate professor of English at the University of Florida. He is the author of Social Figures: George Eliot, Social History, and Literary Representation (Minnesota, 1987) and The Civilized Imagination: A Study of Ann Radcliffe, Jane Austen, and Sir Walter Scott.
Bringing together essays by nineteen respected scholars, this volume approaches dementia from a variety of angles, exploring its historical, psychological, and philosophical implications. The authors employ a cross-cultural perspective that is based on ethnographic fieldwork and focuses on questions of age, mind, voice, self, loss, temporality, memory, and affect.
Taken together, the essays make four important and interrelated contributions to our understanding of the mental status of the elderly. First, cross-cultural data show that the aging process, while biologically influenced, is also culturally constructed. Second, ethnographic reports raise questions about the diagnostic criteria used for defining the elderly as demented. Third, case studies show how a diagnosis affects a patient's treatment in both clinical and familial settings. Finally, the collection highlights the gap that separates current biological understandings of aging from its cultural meanings.
As Alzheimer's disease and other forms of dementia continue to command an ever-increasing amount of attention in medicine and psychology, this book will be essential reading for anthropologists, social scientists, and health care professionals.
However, as Anath Ariel de Vidas argues in this masterful ethnography, this self-denigration - added to the absence among the Teeneks of emblematic Indian features such as traditional costumes, agricultural rituals, specific ceremonies, or systems of religious cargos or offices - are not synonymous with collective anomie. Rather, as Ariel de Vidas demonstrates, their seeming ontological acceptance of a marginal social and economic condition is - in its own peculiar way - a language of indigenous resistance.
For author Gish Jen, the daughter of Chinese immigrant parents, books were once an Outsiders’ Guide to the Universe. But they were something more, too. Through her eclectic childhood reading, Jen stumbled onto a cultural phenomenon that would fuel her writing for decades to come: the profound difference in self-narration that underlies the gap often perceived between East and West.
Drawing on a rich array of sources, from paintings to behavioral studies to her father’s striking account of his childhood in China, this accessible book not only illuminates Jen’s own development and celebrated work but also explores the aesthetic and psychic roots of the independent and interdependent self—each mode of selfhood yielding a distinct way of observing, remembering, and narrating the world. The novel, Jen writes, is fundamentally a Western form that values originality, authenticity, and the truth of individual experience. By contrast, Eastern narrative emphasizes morality, cultural continuity, the everyday, the recurrent. In its progress from a moving evocation of one writer’s life to a convincing delineation of the forces that have shaped our experience for millennia, Tiger Writing radically shifts the way we understand ourselves and our art-making.
From the country that has added to our vocabulary such colorful terms as "purges," "pogroms," and "gulag," this collection investigates the conspicuous marks of violence in Russian history and culture.
Russians and non-Russians alike have long debated the reasons for this endemic violence. Some have cited Russia's huge size, unforgiving climate, and exposed geographical position as formative in its national character, making invasion easy and order difficult. Others have fixed the blame on cultural and religious traditions that spurred internecine violence or on despotic rulers or unfortunate episodes in the nation's history, such as the Mongol invasion, the rule of Ivan the Terrible, or the "Red Terror" of the revolution. Even in contemporary Russia, the specter of violence continues, from widespread mistreatment of women to racial antagonism, the product of a frustrated nationalism that manifests itself in such phenomena as the wars in Chechnya.
Times of Trouble is the first in English to explore the problem of violence in Russia. From a variety of perspectives, essays investigate Russian history as well as depictions of violence in the visual arts and in literature, including the works of Fyodor Dostoevsky, Isaac Babel, Mikhail Lermontov, and Nina Sadur. From the Mongol invasion to the present day, topics include the gulag, genocide, violence against women, anti-Semitism, and terrorism as a tool of revolution.
Skilled in two vernaculars, children shoulder basic and more complicated verbal exchanges for non-English speaking adults. Readers hear, through children's own words, what it means be "in the middle" or the "keys to communication" that adults otherwise would lack. Drawing from ethnographic data and research in three immigrant communities, Marjorie Faulstich Orellana's study expands the definition of child labor by assessing children's roles as translators as part of a cost equation in an era of global restructuring and considers how sociocultural learning and development is shaped as a result of children's contributions as translators.
Vietnamese diasporic relations affect—and are directly affected by—events in Viet Nam. In Transnationalizing Viet Nam, Kieu-Linh Caroline Valverde explores these connections, providing a nuanced understanding of this globalized community. Valverde draws on 250 interviews and almost two decades of research to show the complex relationship between Vietnamese in the diaspora and those back at the homeland.
Arguing that Vietnamese immigrant lives are inherently transnational, she shows how their acts form virtual communities via the Internet, organize social movements, exchange music and create art, find political representation, and even dissent. Valverde also exposes how generational, gender, class, and political tensions threaten to divide the ethnic community.
Transnationalizing Viet Nam paints a vivid picture of the complex political and personal allegiances that exist within Vietnamese America and shape the relations between this heterogeneous community and its country of origin.
In the series Asian American History and Culture, edited by Sucheng Chan, David Palumbo-Liu, Michael Omi, K. Scott Wong, and Linda Trinh Võ
Treacherous Subjects is a provocative and thoughtful examination of Vietnamese films and literature viewed through a feminist lens. Lan Duong investigates the postwar cultural productions of writers and filmmakers, including Tony Bui, Trinh T. Minh-ha, and Tran Anh Hung.
Taking her cue from the double meaning of "collaborator," Duong shows how history has shaped the loyalties and shifting alliances of the Vietnamese, many of whom are caught between opposing/constricting forces of nationalism, patriarchy, and communism. Working at home and in France and the United States, the artists profiled in Treacherous Subjects have grappled with the political and historic meanings of collaboration. These themes, which probe into controversial issues of family and betrayal, figure heavily in fictions such as the films The Scent of Green Papaya and Surname Viet Given Name Nam.
As writers and filmmakers collaborate, Duong suggests that they lay the groundwork for both transnational feminist politics and queer critiques of patriarchy.
Creative expression inspired by disease has been criticized as a celebration of victimhood, unmediated personal experience, or just simply bad art. Despite debate, however, memoirs written about illness—particularly AIDS or cancer—have proliferated since the late twentieth century and occupy a highly influential place on the cultural landscape today.
In Treatments, Lisa Diedrich considers illness narratives, demonstrating that these texts not only recount and interpret symptoms but also describe illness as an event that reflects wider cultural contexts, including race, gender, class, and sexuality. Diedrich begins this theoretically rigorous analysis by offering examples of midcentury memoirs of tuberculosis. She then looks at Susan Sontag’s Illness As Metaphor, Audre Lorde’s The Cancer Journals, and Eve Kosofsky Sedgwick’s “White Glasses,” showing how these breast cancer survivors draw on feminist health practices of the 1970s and also anticipate the figure that would appear in the wake of the AIDS crisis in the 1980s—the “politicized patient.” She further reveals how narratives written by doctors Abraham Verghese and Rafael Campo about treating people with AIDS can disrupt the doctor–patient hierarchy, and she explores practices of witnessing that emerge in writing by Paul Monette and John Bayley.
Through these records of intensely personal yet universal experience, Diedrich demonstrates how language both captures and fails to capture these “scenes of loss” and how illness narratives affect the literary, medical, and cultural contexts from which they arise. Finally, by examining the ways in which the sick speak and are spoken for, she argues for an ethics of failure—the revaluation of loss as creating new possibilities for how we live and die.
Lisa Diedrich is assistant professor of women’s studies at Stony Brook University.
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