On Diversity,Empathy, and Community: The Relevance of Johann Gottfried Herder

Abstract The writings of Johann Gottfried Herder (1744–1803) foreshadowed several of the dominant theories of sociology, social psychology, aesthetics, linguistics and literary theory. His ideas impacted generations of thinkers, but today he is uncelebrated, mostly unknown. His writings on populism, expressionism, and pluralism are relevant to contemporary sociology, especially community sociology. Here we consider his views on the nature and meaning of community, and his methods of studying and interpreting communities. These include an emphasis on the essential particularity of human communities and their connection to wider systems and networks. Herder urges special attention to the elements of context (place, time, language, culture) within which communities are situated. Herder's is an embedded particularism, a focus on individuality and diversity within larger unities. He also sensitizes us to the multivalence and multiplicity of social phenomena. As the proper stance for community research he counsels involvement and empathy rather than objectivity and emotional distance, and he urges researchers to be sensitive to data from all of their senses, not merely sight. Drawing upon Herder's writings, we conclude with several important methodological principles relevant to improving current work on the nature and conceptualization of communities.     

Everett Hughes: Sociology's Mission1

In this paper, I reflect on the life and work of Everett Hughes. I discuss the similarities and differences between his writings and those of Robert Park; I describe his biographical influences and the use he made of marginality; I consider the relevance of his professional commitments for contemporary sociology and his unique vision of sociology's mission. I conclude by calling for renewed interest in his concepts and principles.     

Revivifying Russia: Literature,Theory, and Empire in Viktor Shklovskii's Civil War Writings

Abstract

When in 1924 Iurii Tynianov identified Viktor Shklovskii's memoir A Sentimental Journey as a work 'on the margin of literature', he was commenting on the text's generic experimentation. But he also provided an apt label for its geopolitical setting, as war drives Shklovskii back and forth from Russia's dying imperial centre Petrograd to the country's peripheries. The sometimes uneasy relationship between Shklovskii's literary theory and his movement through the disintegrating Empire is this essay's main focus. Drawing on recent scholarship that identifies a fundamental paradox of modern literary theory as both the cosmopolitan study of literature per se and a discipline validated by national literary canons, the essay proposes that Shklovskii negotiates cosmopolitan and national impulses by exploring Russian literature as the expression of a multi-ethnic and multilingual empire. In analogy with Shklovskii's famous dictum that art exists to 'make the stone stony', the argument is made that in his Civil War writings Shklovskii strove to revivify the Russian Empire, that is, to 'make Russia Russian', by presenting his readers with a new and strange view of Russia from its imperial borders.     

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.”     

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.     

Modernist misapprehensions of Foucault's aesthetics

Abstract

Several critics of Foucault, notably Alan Megill and Jürgen Habermas, accuse Foucault of being an ‘aestheticist’. As such, Foucault fails to realise that the very appeal to aesthetics is made possible by modernity's rationalization, which offers better resources for emancipation than dangerous aestheticizations. This paper argues that such criticisms mistakenly deploy only certain modernist notions of aesthetics against Foucault. There are some fair grounds for holding that Foucault does appeal to such conceptions of aesthetics in his theorization of transgression, not least because of his interest in modernist, avant‐garde writers and artists such as Roussel and Magritte. Yet, overall, Foucault's interest in avant‐garde aesthetics is not modernist in the sense understood by his critics. Foucault tends to focus on modernist illustration of the absence of foundations for representation and language, adopting a paraesthetic angle of critique. The limiting conditions that make representation possible can be seen in this light as both contingent yet necessary. Foucault's model of critique is developed in his early analyses of avant‐garde art and then expanded to cover subjectivity and the aesthetics of existence in his later philosophical critical ethos of modernity. Foucault uses avant‐garde art as a critical mode of reflection, to analyse and rethink the limits of the present.     

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.     

Edward Gibbon Wakefield,England and 'ignorant,dirty, unsocial, . . . restless,more than half-savage' America

Abstract

Edward Gibbon Wakefield is usually credited with devising a new, 'rational' system of colonization, propounded in a series of books and articles between 1829 and 1837. Certainly, this is what his contemporary champions would have us believe but, rather than identifying what he propounds as an entirely new way of understanding colonization, it is more correct to characterize Wakefield's system as a careful decoction of existing ideas, practices and proposals trailed in earlier 19th-century British writings on the Cape, Australia, Canada and America. Published in London in 1833 and New York in 1834, England and America consequently represented a particularly selective reading of contemporary British writings on America, a highly-coloured portrayal of the country designed to demonstrate how emigration and settlement was better not conducted, and a striking contrast to his own, idealized vision of how colonies should be peopled.     

Charles Horton Cooley,Pragmatist or Belletrist? The Complexity of Influence and the Decentering of Intellectual Traditions

This essay treats recent attempts to identify symbolic interaction (SI) founding theorist Charles Horton Cooley as a pragmatist sociologist exemplifying, and even influenced by, the pragmatism of Charles Saunders Peirce, as an example of the American exceptionalist character of SI. Beginning with Cooley's creative approach to conceptualizing the social, these attempts are scrutinized and measured against the contention that Cooley's thought can be equally if not more understood as a product of influence of the literary essay tradition. A close reading is given of the concordance of his personal journal with a selection of his published writings concerning the influence of members of Cooley's essayistic “genre matrix” – Emerson, Montaigne, and Walter Pater – on the development of his intellectual self and thought. Further substantiation is supplied by an analysis of the essayistic influence on Cooley's rigorous treatment of qualitative methodology. It is concluded that a decentered positioning of Cooley's work is preferable to a single‐origin one.     

The feeling of the incommensurable: Lawrence Grossberg on affect and incommensurability

This essay analyzes Lawrence Grossberg's work on the concept of commensuration, and especially his suggestion that we face a generalized crisis in our mechanisms for commensurating values. In making explicit the ways in which Grossberg's reflections on commensuration connect with his recent assessment of the contemporary social landscape in the United States – particularly the affective landscape that he describes in his work on the election of Donald Trump – I suggest that Grossberg's approach is, in part, distinguished by its attentiveness to the affective dimensions of commensuration (and of incommensurability). It can thus be contrasted with many previous approaches to commensuration, which view it exclusively as a problem at the level of practical reason, focusing on how we adjudicate between different bearers of value and how we justify, or give reasons for, our choices among them. Although such questions are also present in Grossberg's work, I argue that his writings contain a subtle treatment of the moods, attitudes, and tacit dispositions that characterize what if feels like to live through significant breakdowns in established logics of measure and comparison. Following Grossberg, I claim that having an adequate account of this affective dimension is crucial if we are to construct political alternatives that can address the felt sense of crisis in American political life.     

Tracing the influence of Fernand Deligny on autism studies

In recent years, I have had a growing interest in the work of Deleuze and Guattari, the influence of Fernand Deligny’s work on their own, and the similarities and differences between their respective philosophies and those within my own writings as an autistic academic and activist. Recently a translation of Deligny’s writing became available. Deligny’s writing, even when translated, is not easy to decipher, and perhaps reflects his ‘rhizome-esque’ philosophy and practice. Yet according to Burk there were three main principals which characterised the work of Deligny: the network as a mode of being (called the ‘Arachnean’); the art of acting and doing from which his methodology of ‘mapping’ attempted to trace; and, lastly, the ‘primordial communism’ of a shared common site of living. In this article, these themes will be explored and contrasted with the theoretical writings of the autistic author Jim Sinclair and those of my own, as well as indicating how they influenced the concepts later devised by Deleuze and Guattari.     

Sometimes Words Just Ain't Enough – Enhancing the Contribution of Children in Therapy through Creative Expression

The meaningful inclusion of children in family therapy is an ideal that therapists readily align with and yet struggle to implement effectively. Within a practice that relies heavily on verbal expression, young children provide a unique challenge for therapists, who require developmentally appropriate opportunities for the child to express, document, and share his or her experience in all its richness and colour. In this paper the author utilises art therapy to support greater inclusion of children in family therapy by capitalising on their creative talents and facilitating the child's visual story within the family dialogue. This can assist in the formulation and treatment of systemic issues.     

The theatre of war: art,organization and the aesthetics of strategy

Recent Anglo-Saxon writings on management regard “vision” as being of strategic importance to leadership. Whilst such an approach has led to socio-psychological inquiries into “visionary leadership” the equally relevant phenomenological “philosophy of the eye” has remained unexplored by organizational scholars. This European philosophical tradition is closely connected to theories of art. In three cases, it will be shown how continental reflection on the strategic management of warfare has taken the eye seriously and thereby gained insights from aesthetics. It will be argued that the understanding of civilian strategic management also might benefit from such s connection between Strategy and Art.     

Slavery,Empire and Civilization: A Luso-Brazilian Defense of the Slave Trade in the Age of Revolutions

This article examines a defense of the slave trade mounted in the 1790s by the Luso-Brazilian Bishop Azeredo Coutinho. While Azeredo's defense has been interpreted as a function of his slave-owning family's interest, this article provides a broader analysis of Azeredo's writings on the slave trade and the Portuguese empire within the contexts of eighteenth-century Luso-Brazilian intellectual culture and transatlantic debates about empire, commerce and historical transformation. His writing on the imperial economy and the slave trade included both appeals to an eighteenth-century ideal of civilization as a process predicated upon the universality of humanity as well as defense of empire as the rational, just and necessary exploitation of the barbarous by the civilized.     

Violence,self-discipline and modernity: beyond the ‘civilizing process’

Norbert Elias's writings on the development of self-constraint and its relationship to state formation are examined in the light of anthropological and historical critiques of his arguments and data. It is argued that state formation should not be seen as essential to self-discipline; that Elias's view of the development of self-constraint rests on a limited reading of the historical evidence on medieval personality and behaviour; and that many other aspects of the history of European society apart from ‘lengthening chains of interdependency’, such as bureaucracy and individuality, should be examined in order to explain modern self-discipline.     

Analyzing Children's Learning and Development in Everyday Settings from a Cultural-Historical Wholeness Approach

The main point in this article is to conceptualise how demands connected to children's life conditions influence both children and caregivers. To pursue this aim I advocate an extension of Vygotsky's cultural-historical theory of children's learning and development. Vygotsky pursued a wholeness approach to children's development with his concept of “the child's social situation of development” as the child's dialectic experiential and motivational relation with his or her surrounding. This conception I extend with the concepts of institutional practice and activity setting. The conditions for children's activities are the institutional practice and its activity settings. But a child's activities in these settings also has to be seen from the child's perspective, that is, his or her motive orientation. To focus on the child's motive within an activity setting—requires the researcher to focus on the child's social situation of development to discern how the dialectic between the child's orientation within an activity setting and the demands from the setting and other persons influence the child's activities within the child's zone of proximal development.     

Vygotsky's Stage Theory: The Psychology of Art and the Actor under the Direction of Perezhivanie

This article reviews Vygotsky's writings on arts (particularly logocentric art including the theater) and emotions, drawing on his initial exploration in The Psychology of Art and his final considerations set forth in a set of essays, treatises, and lectures produced in the last years of his life. The review of The Psychology of Art includes attention to the limits of his analysis, the mixed Marxist legacy that is evident in the book, the cultural blinders that affect his vision of the relative value of different artistic productions, the content of what he elsewhere refers to his “tedious investigations” into extant views, and the gist of what he considers to be the essence of art. Attention to his late work falls into two areas: Emotion in formal drama and emotion in everyday drama, each of which involves perezhivanie, roughly but incompletely characterized as emotional experience. The article concludes with an effort to situate Vygotsky's writing on art and emotion both within his broader effort to articulate a comprehensive developmental psychology of socially, culturally, and historically grounded individuals and social groups, and within scholarship that has extended and questioned his work as his influence has expanded beyond the clinics of Soviet Moscow.     

MYTHOLOGIES REVISITED: ROLAND BARTHES AND THE LEFT

This essay arises from the author's scepticism about the received notion, prevalent both in literary and cultural studies, that Roland Barthes's work of the 1960s constituted an abandonment of the previous decade's social critique. The paper develops the argument that, to the contrary, understanding Barthes's socio-cultural development following World War II and in the French cultural context helps to situate the political engagement of his writings in the 1950s and to clarify the continued political commitment of this work from the 1960s onward. This essay addresses a series of questions: what was Barthes's relationship to the 1950s French intelligentsia that prepared his active participation in the heterodoxical Marxist journal, Arguments, a forum for many of the urgent intellectual debates between 1956-62? What is the relationship of this activity to his writings of the early 1950s, developed into Mythologies in 1957, as well as to the shift toward semiology and structuralism and to the purported abandonment of social critique betokened by this shift? How do these phases inform the different readings of Barthes's work developed in more recent interpretations of his writing? It is argued that we would do better to view the structuralist phase and especially the ‘later’ Barthes (from the late 1960s onward) more fully and deliberately in relation to the early, explicitly political period. This revised perspective, one not limiting Barthes to works such as Mythologies, will help us better comprehend Barthes's continuing legacy for sociosemiotic critique both in literary criticism and in cultural studies and to create new ground for interdisciplinary dialogue that is very much needed in an era of questioning the limits and borders of this field.     

Phenomenology and Film: An Examination of a Religious Approach to Film Theory by Henri Agel and Amedee Ayfre

French film theorists have made a great impact on filmmaking through their essays on the nature and policies of film. The French phenomenologists search for a spiritual reality beyond the semiotic and materialistic theories represented in cinema criticism today. They argue that as the most important of modern art forms, cinema must embrace the realms of the imagination and the divine. This article sets out to examine the writings of two French film theorists of the 1950s and 1960s, the phenomenologists Henri Agel and Amedee Ayfre, whose work is little known in the United States because it has not been translated into English. Their importance lies in their concern with transcendence in film, which has made an important contribution to the way we can understand spirituality in film. Their writings were popularized in the United States by screenwriter and film director Paul Schrader (1972) in his book Transcendental Style in Film. In this article I examine phenomenological theories and suggest that certain films made in Texas in the 1980s display the virtues of a phenomenological approach to filmmaking.