A Re-examination of Defining Moments in Vygotsky's Work and Their Implications for His Continuing Legacy

This article argues for the idea of different moments in Vygotsky's work while highlighting combinations of ideas and concepts that were particularly emphasized in distinct moments of his work. After Vygotsky's death, these moments were not considered a theoretical system in development, either in former Soviet psychology or in Western interpretations of his work. Vygotsky's legacy seems to have been mostly reduced to one concrete focus of his work, mistakenly identified as cultural-historical theory. The overemphasis of selected aspects of Vygotsky's work resulted in an overshadowing of other ideas that have remained relatively “unknown” until fairly recently. In this article, previously underemphasized elements in Vygotsky's psychology, such as emotions, fantasy, imagination, personality, and the generative character of human psyche, are emphasized. A consideration of these elements offers new and refreshing alternatives to Vygotsky's legacy. These previously underemphasized elements are markedly represented in Vygotsky's first and third moments. Furthermore, in the third and final moment of his work, the category of sense opened up a completely new perspective for a systemic and complex approach to understanding the human mind.     

The interdependence between forms of mutuality and the development of theoretical interest in the classroom

The present Vygotskian community is divided by a common language, 1 argue. By closer inspection there appears to be 2 quotation communities. The reasons for this are many, but the main reason seems to be the different reception histories of Vygosky's work in Russia and in the U. S., respectively. Concurrently, on the continent there also exist 2 different quotation communities. In one community Vygotsky's work initially was introduced through his Russian disciples; in the other community through his American adherents. This article focuses on a Vygotsky‐inspired curriculum rationale that is not yet widely known abroad. It is authored by El ‘konin and Davydov. In Russian parlance this approach is called Developmental Education. By closer inspection it turns out that there is a remarkable family resemblance between this approach and the American approach known as the Schools‐for‐Thought movement. Here both approaches are juxtaposed and critically valued.     

The terrorist,the artist and the citizen: Oscar Wilde and Vera

This article links Oscar Wilde’s prose writings with his earliest drama Vera, or The Nihilists (1880, rev., 1883) and suggests how the idea of terrorism and political violence was a spectacle and threat that Wilde acknowledged and encompassed in his writing and thought. I discuss Wilde’s adoption of a Hegelian view of the development of civilisation and suggest that during his 1895 trials he cast himself self-consciously as at once agitator and scapegoat, finding that his own life had come to imitate his art though not in the ways with which we are commonly familiar. Modern terrorism from its roots in 1870s Russian political unrest is recognised as both a new force and a familiar fantasy which shapes literature.     

Ilyenkov on Aesthetics: Realism,Imagination, and the End of Art

It is sometimes claimed that Evald Ilyenkov's writings, particularly those on the problem of the ideal, best express the philosophical framework of Russian cultural-historical psychology and activity theory. In this article I consider a neglected part of Ilyenkov's legacy: his work on aesthetics. Ilyenkov's writings on art cast significant light on his views of culture and mind and on the humanistic vision at the center of his philosophy. In 1964, on a rare trip to the West, Ilyenkov visited an exhibition of pop art in Vienna. He was disgusted by what he saw and wrote a scathing critique entitled "Chto tam, v Zazerkal'e?" ("What's there, through the looking glass?"). Does Ilyenkov's antipathy to pop-and, indeed, to so-called modern art in general-show him to be enamored of a narrow, reactionary form of socialist realism? If so, how can this be squared with his reputation as a creative, critical voice within Soviet Marxism? I examine Ilyenkov's other writings on aesthetics in search of a nuanced interpretation of his reaction to pop. I consider his idea that art should serve to cultivate higher forms of perception and his attendant concepts of aesthetic sensibility and imagination, and I explore how these notions contribute to his view of the unity of the cognitive virtues, his hostility to the division of labor, and his ideal of genuine human activity, guided by reason. Such themes are vital constituents of Ilyenkov's humanism, which celebrates free, creative activity as a life principle that must assert itself against the mortifying forces of mechanization and standardization. Although these ideas may not entirely redeem Ilyenkov's hostility to modern art, they reveal his stance to be far more sophisticated than appears at first sight.     

Is Vygotsky Relevant? Vygotsky's Marxist Psychology

This article explores the connections between Vygotsky's psychology and Marxism, arguing that his was a “Marxist psychology” in its “historical foundation”: a specific conception of history. This conception of history is evident in Vygotsky's analysis and diagnosis of the crisis in psychology. The creation of a Marxist, general psychology was the historical task that was defined by this crisis, and his developmental psychology was the historical project of such a psychology. In his practice of the methodology of this general psychology, Vygotsky recounted “child history”: the history of the genesis of mind. The conception of history evident in Crisis throws new light on Vygotsky's texts on child development: They tell a history of the objective tendencies of consciousness, of the dialectical processes of sublation, and of self-mastery. As Vygotsky interpreted the higher mental functions, they are manifestations of the child's ability to master himself or herself as a consequence of the “social moment” of consciousness. In fostering these functions, one shaped a human consciousness capable of free and deliberate choice.     

Tomorrow,things will be different Qiu Zhijie’s concept of keeping alive life through art

Abstract

The paper examines Qiu Zhijie’s multi-layered project A Suicidology of the Nanjing Yangtze River Bridge (since 2008) and asks what is at stake when art literally and metaphorically is assigned with life-saving functions. Based on the artist’s assumption that today’s social and political reality as well as its subjects are historically constructed the article conceives of the Nanjing Bridge as an embodiment of a historically constituted contemporary Chinese reality. Through close readings of the works as well as analyses of theoretical writings by Qiu Zhijie the article scrutinises the relationship Total Art assumes between the social and the aesthetic realm and examines the premises and strategies the artist adopts in order to produce socially and aesthetically effective art that keeps ‘alive’.     

Pierre Bourdieu and Jacques Rancière on art/aesthetics and politics: the origins of disagreement, 1963–1985

Rancière published two substantial criticisms of the work of Bourdieu in the early 1980s. It is possible that these were provoked by his sense that he needed to oppose what he considered to be the sociological reduction of aesthetic taste offered by Bourdieu in Distinction (Bourdieu 1986 [1979]) at precisely the moment when he (Rancière) was beginning to articulate his commitment to the potential of aesthetic expression as a mode of political resistance. Except in so far as it draws upon some of the retrospective reflections offered by Rancière in his introductions to the re‐issues of his early texts, this paper examines the parallel development of the thinking of the two men up to the mid‐1980s – but not beyond. The discussion is situated socio‐historically and, by definition, does not seek to offer comparatively any transhistorical assessment of the values of the positions adopted by the two men. I argue that Rancière misrepresented the character of Bourdieu's sociological work by failing to recognize the underlying phenomenological orientation of his thinking. Bourdieu suppressed this orientation in the 1960s but, after the May events of 1968, it enabled him to expose the extent to which the practices of both science and art operate within constructed ‘fields’ in strategic distinction from popular primary experience. The challenge is to introduce an ongoing dialogue between primary and constructed cultures rather than to suppose that either social science or art possesses intrinsic autonomy.     

Dramas,Metaphors, and Structures*

It is argued that dramaturgical sociology/social psychology must be examined as a continuation of the methods and practices of dramatism. Such an examination will reveal answers to the persistent questions regarding the work of Erving Goffman: Is he using a metaphor, simile, analogy, etc.! Is he a symbolic interactionist! Is his work a form of structuralism! What is the relationship between the sociologist and the drama of human relations! What is the relationship between interactionism and structuralism! The answers to these questions, it appears, are that drama is not used as a simple analogy in the study of human relations and that the separation of structuralism and interactionism is yet another essay in the confrontation between Heraclitus' flux and Zeno's paradox. You cannot step twice into the same river; for fresh waters are ever flowing in upon you. Heraclitus In which case, you cannot step even once into the river: there will in fact be no river. after Parmenides, Zeno etc.     

Rethinking industrial citizenship: the role and meaning of work in an age of austerity

T. H. Marshall in his famous tract Citizenship and Social Class wrote briefly about what he called ‘industrial citizenship’, a type of belonging rooted in the workplace. Here Marshall's ideas are developed alongside a consideration of Durkheim's Professional Ethics and Civic Morals together with research material from the Guinness Company. It shows the way the Company actively sought to create ‘Guinness citizenship’ within its London brewery. The article draws out the ways in which the significance and potential of work based citizenship for ameliorating the ills of industrial society are clearly articulated in mid‐twentieth century Britain and echo earlier neglected Durkheimian sociological ideas on work. These ideas have real potential to inform contemporary academic and policy debates about the nature of capitalism and the form and content of work now and in the future.     

Botswana Expansive School Transformation Project (BeST): A Response to Serpell’s Commentary

Those who are acquainted with Vygotsky's theory probably know that his publications were blacklisted in the Soviet Union from 1936 until 1956. Regrettably though, only a few adherents of Vygotsky in the West are informed about the great pains taken by the Russian Vygotskians to get hold of a firm position in the local psychological landscape between 1956 and the origin of the perestroika at the end of the 1990s. With this in mind, we here present Vasilii Davydov's vivid account of an endeavor to organize an open conference on Vygotsky's theory at the Moscow Institute of Psychology in 1981. Ultimately, the Communist Party officials prohibited this conference. The story involved is actually an excerpt from an unedited audiotaped interview I had with Davydov in my residence on June 13, 1994. Davydov spoke in a flawless, sparkling Russian. Therefore, it was a great challenge to translate his narrative adequately. Elina Lampert-Shepel and I have done our best to render the subtleties that reverberate in Davydov's account of the event concerned.     

Philosophy of Communication and Umberto Eco’s Infinity of Lists: The Interplay of the Poetic and Pragmatic

This article conceptualizes the importance of Umberto Eco’s understanding of lists for philosophy of communication. Philosophy of communication is understood as the necessary and insightful interplay of the poetic and pragmatic through which meaning emerges. In The Infinity of Lists, Eco offers an essay-length interpretation of lists presented alongside a collection of art and literature that represent his theoretical work in action. Eco articulates lists as a means for cultural order and form in the attempt to convey what is otherwise beyond articulation. Although philosophers of communication have recognized the importance of Eco’s philosophical and semiotic project for human communication, his work on lists has received little attention within and outside of the field of communication. This article assumes that lists are significant to Eco’s project and to philosophy of communication, situated in the interplay of the poetic and the pragmatic.     

Towards sociology from the arts: An epistemological turn

Over the past two decades, Howard Becker's Art Worlds and Pierre Bourdieu's The Rules of Art were guidelines for the dominant paradigms in sociology of art. Nevertheless, according to Bourdieu, sociology and art do not make a good match. To overcome this dilemma, the French sociologist Nathalie Heinich proposed a “sociology from art,” based on the uniqueness of artists and their works, but she neglected artworks as sociological subject. A realistic and persistent criticism against sociology from the arts claims that artworks are fictions created by artists, therefore epistemologically unacceptable as social realities. Is it possible the making of sociology from artworks? Through theoretical review and using the example of literature, I will argue in this paper that artworks are important heuristic resources and a legitimate subject of sociological research.     

Peter Kireevskii and the Development of Moscow Slavophilism

Abstract

Although the name of the folklorist Peter Kireevskii is well known to historians of nineteenth-century Russia, comparatively little has been written about his place within the Slavophile circle. Some scholars have treated him as the 'first' Slavophile. Others have questioned whether his views were in any sense really Slavophile at all. This article argues that Peter Kireevskii's life-long interest in Russian folklore was rooted both in his understanding of the Russian countryside and his exposure to the influence of a Russian Romantic tradition that viewed the narod as the authentic representative of national identity. It suggests that Kireevskii was from his youth convinced that Russia possessed a culture and history that was equal in value to any country in the West, but that it was only in the late 1830s that he stressed the role played by Orthodoxy in shaping Russia's development. Although his mature views brought him closer to the Slavophile 'mainstream', there were always some elements that set him apart, perhaps reflecting the fact that Slavophilism was a more eclectic and diverse phenomenon than sometimes realized.     

Charles Tilly and the Practice of Contentious Politics

Charles Tilly developed the concept of the repertoire of contention over a long and distinguished career. It wasn't easy and it wasn't quick. In addition to being easily distracted, Tilly also needed to develop the analytical tools with which to study repertoires and performances and complete his transformation from what he called "an old structuralist" to what he came to call a "relational realist." This long development came to final fruition in the book he completed shortly before his death, Contentious Performances, which the author of this tribute regards as his masterpiece.     

Proust's butterfly James McNeill Whistler and painterly writing in In Search of Lost Time

Abstract

This article examines the influence of Whistler's art on Proust and the role it plays in Proust's analysis of involuntary memory in In Search of Lost Time. Whistler (a near anagram of Proust's 'Elstir'), alongside Monet and Paul César Helleu, is generally credited with making up the composite figure of Elstir, the painter who takes his place as one of the central characters in Proust's novel and plays a pivotal role in linking the experiences of Proust's youthful narrator, Marcel, with those of the older Swann, and of reconciling the cultural shift in emphasis from portraits painted in studios to the en plein air style of the Impressionists. Whistler's, though, is an influence that runs deeper than historical or biographical contingency. Whistler, too, saw memory rather than direct observation as central to the creative act; and in the way in which his increasingly strictly pictorial art dramatizes the act of looking, he provides a parallel to Proust's concern with how memory, through the rhetoric of metaphor, is transformed into art.     

Home of the Brave,Frantz Fanon and cultural pluralism

Abstract

This article examines Mark Robson's Home of the Brave (1949, USA), a Hollywood social problem drama about anti-black racism, and the brief but vivid response to the film presented in Frantz Fanon's Black Skin, White Masks (1952). Fanon enables a rethinking of some of the film's most central assumptions and the discourses upon which the story relies. At the same time, Fanon's response conveys information about his own biography and his perspectives on cultural representation generally. The article examines the film as a document that reveals competing claims about anti-black racism and, through Fanon's commentary, revisits the relationship between cultural pluralism and racial ideologies in the mid-20th century USA. The article explores the nature of Fanon's anti-racist commentary on the film as a form of 'cultural studies' that offers transnational historical insight and simultaneously provides ways of re-examining the national specificity of race thinking.     

The urban psychology of Stanley Milgram

Abstract

Although his obedience research will always remain Stanley Milgram's most important work, his involvement with the social psychology of the city occupied a much larger portion of his professional career. This article traces the evolution and intensification of Milgram's interest in cities, starting with his pre-professional years, through his early research at Harvard, culminating in his multifaceted engagement with urban psychology at the Graduate Center of CUNY. There, as head of the social psychology program, he was able to infuse it with an urban emphasis. He created and taught a variety of courses on urban psychology and got his students involved in a potpourri of experiments comparing behavior in cities and towns. Those experiments provided much of the substance for Milgram's seminal article in Science, “The experience of living in cities,” in which he also introduced the theoretical concept of stimulus overload to help account for the city-small town differences he and his students found. This article evaluates the overload concept and concludes with Milgram's overarching legacy for the study of city life.     

Truth,lies, and racial consequences in Ernest Hemingway's True at First Light: A Fictional Memoir

Abstract

This article examines Ernest Hemingway's posthumously published novel True at First Light: A Fictional Memoir, by relating the author's vision of the role of Africa in the literary imagination to issues the novel raises for postcolonial cultural and historical criticism. Analyzing the novel's narrative, which draws upon Hemingway's second safari to Kenya in 1953–4, offers insight into Hemingway's 'African American' consciousness, and the new awareness that he was able substantively to arrive at for the first time in this novel, less than 10 years before his death. This awareness inaugurated what might be called a fictional reverse migration, whereby Hemingway reconnects with the black native perspective on Africa that he encountered on his first safari in 1933–4, in order to acquire material insight into what blacks were experiencing in America at the time of his second safari. Identifying this awareness also leads to the possibility of (re)reading Hemingway's racial perspective in his earlier works with African settings.     

From Maidens to Mugs: The Motif of the Mirror in the Works of Nikolai Gogol'

From Plato’s times to our contemporary age, theorists have spoken of art as being a mirror of life and sometimes argued against the notion. In his nonfiction essays on art and literature, Gogol' was also fond of the metaphor. Due to the frequency with which mirrors appear in his work, Gogol'’s oeuvre offers a unique opportunity for study of how the idiom of art-as-mirror transforms in the move from theoretical reflections to his fictional stories. Appealing to Meyer Abrams’s claim that the mirror has become a “constitutive” metaphor, this article assumes that: a) the potential problems the metaphor introduces are fair game in general theorizing, and b) the questions introduced into the texts by Gogol'’s fictional mirrors may also point toward problematic issues in his thought on art and development as an artist. The article surveys Gogol'’s use of mirrors in his fiction and relates them to their theoretical counterparts. Clear patterns emerge that parallel the geographical and meta-literary subject matter of his work. Ultimately, the article reveals how Gogol'’s evolving treatment of the mirror metaphor may offer insight into the sources of the author’s “creative decline.”