By Andrew Edgar, Peter Sedgwick
Now in its moment version, Cultural thought: the major strategies is an up to date and accomplished survey of over 350 of the main phrases valuable to cultural thought this present day.
This moment version comprises new entries on:
- visual studies.
Providing transparent and succinct introductions to a variety of topics, from feminism to postmodernism, Cultural conception: the main Concepts is still an important source for college students of literature, sociology, philosophy and media and an individual wrestling with modern cultural theory.
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Additional resources for Cultural theory : the key concepts
Brecht coined the term 'alienation technique' (Veifremdungseffekt), as the dramaturgical process that serves to make familiar reality appear strange, in order to distinguish his o w n drama, not merely from the Aristotelian tradition, but also from other forms of dictatic drama. D u r i n g this pre-war period he collaborated with the composer Kurt Weill on the operas The Threepenny Opera (1928) (on the model of 32 CASTORIADIS, CORNELIUS John Gay's eighteenth-century Beggar's Opera) and The Rise and Fall of the City of Mahagonny (1927—1929).
As she notes,' [a]dulthood in central North America means warfare. Honour in it is the great goal of all men. . In Australia . . adulthood means participation in an exclusively male cult. . Any woman is put to death if she so much as hears the sound of the bull-roarer at ceremonies' (p. 18). This approach to anthropology raises a number of major issues. First, Benedict is aware that not all cultures will be fully integrated about a single theme. She identifies societies in British Columbia that are characterised by their cultural borrowings from their neighbours, and thus by the ultimate poverty of the culture, as it fails to elaborate or explore any element in depth or with consistency (p.
There is no mother tongue, only a power takeover by a dominant language within a political multiplicity' (p. 7). For Deleuze and Guattari, texts, likewise, have no originating subjects. Books, too, are machines which produce meaning only through a process of intersection and subsequent interaction with other forces. Thus, literature is taken as a form of'assemblage', and its meaning cannot be reduced to questions of ideology. Indeed, 'There is no ideology and never has been' (p. 4). This is because there are, on their ontology, only lines of force which join and break to form stratified 'rhizomatic' wholes, or 'haeccities', devoid of permanence.