Against Autonomy: Global Dialectics of Cultural Exchange (Cultural Memory in the Present) - Softcover

Reiss, Timothy J.

Softcover

ISBN 10: 0804743509 ISBN 13: 9780804743501

Verlag: STANFORD UNIV PR, 2002

Inhaltsangabe

This book investigates "cultural instruments," meaning normative forms of analysis and practice that are central to Western culture and in the course of their history came to be ways of understanding and controlling different cultures. Examples are: notions of autonomy and the division of intellectual, social, cultural, and aesthetic practices; ideas of otherness (taking forms like Gemeinschaft/Gesellschaft, négritude, and afrocentrism); cultural and aesthetic forms such as tragedy, mimesis, self, mind/body; certain modes of history and memory; and particular forms of discourse such as science, philosophy, and literature.

The book explores the interlocking histories of cultural instruments from antiquity to the early Enlightenment and their instrumental use and reworking by different cultures, moving from Europe to Africa and the Americas, especially the Caribbean. In the process, the author gives close readings of works by a wide range of authors: Balboa, Balbuena, Brathwaite, Calvino, Carpentier, Cervantes, Césaire, Depestre, Descartes, Eltit, Fanon, Freud, Gombrowicz, Harris, Kane, Kipling, Marshall, Walcott.

Many other authors' works become part of the book's general argument about how cultures are made, how they figure both themselves and other cultures, and how they mutually interact (when they do) through productions of what the author calls the "fictive imagination"-what in the West is called "art" but in different cultures may take different names and serve different purposes.

Über diesen Titel

Über die Autorin bzw. den Autor

Timothy J. Reiss is Professor of Comparative Literature at New York University. He is the author, most recently, of Knowledge, Discovery, and Imagination in Early Modern Europe: The Rise of Aesthetic Rationalism.

Von der hinteren Coverseite

This book investigates “cultural instruments,” meaning normative forms of analysis and practice that are central to Western culture and in the course of their history came to be ways of understanding and controlling different cultures. Examples are: notions of autonomy and the division of intellectual, social, cultural, and aesthetic practices; ideas of otherness (taking forms like Gemeinschaft/Gesellschaft, négritude, and afrocentrism); cultural and aesthetic forms such as tragedy, mimesis, self, mind/body; certain modes of history and memory; and particular forms of discourse such as science, philosophy, and literature.
The book explores the interlocking histories of cultural instruments from antiquity to the early Enlightenment and their instrumental use and reworking by different cultures, moving from Europe to Africa and the Americas, especially the Caribbean. In the process, the author gives close readings of works by a wide range of authors: Balboa, Balbuena, Brathwaite, Calvino, Carpentier, Cervantes, Césaire, Depestre, Descartes, Eltit, Fanon, Freud, Gombrowicz, Harris, Kane, Kipling, Marshall, Walcott.
Many other authors’ works become part of the book’s general argument about how cultures are made, how they figure both themselves and other cultures, and how they mutually interact (when they do) through productions of what the author calls the “fictive imagination”—what in the West is called “art” but in different cultures may take different names and serve different purposes.

Aus dem Klappentext

This book investigates cultural instruments, meaning normative forms of analysis and practice that are central to Western culture and in the course of their history came to be ways of understanding and controlling different cultures. Examples are: notions of autonomy and the division of intellectual, social, cultural, and aesthetic practices; ideas of otherness (taking forms like Gemeinschaft/Gesellschaft, négritude, and afrocentrism); cultural and aesthetic forms such as tragedy, mimesis, self, mind/body; certain modes of history and memory; and particular forms of discourse such as science, philosophy, and literature.
The book explores the interlocking histories of cultural instruments from antiquity to the early Enlightenment and their instrumental use and reworking by different cultures, moving from Europe to Africa and the Americas, especially the Caribbean. In the process, the author gives close readings of works by a wide range of authors: Balboa, Balbuena, Brathwaite, Calvino, Carpentier, Cervantes, Césaire, Depestre, Descartes, Eltit, Fanon, Freud, Gombrowicz, Harris, Kane, Kipling, Marshall, Walcott.
Many other authors works become part of the book s general argument about how cultures are made, how they figure both themselves and other cultures, and how they mutually interact (when they do) through productions of what the author calls the fictive imagination what in the West is called art but in different cultures may take different names and serve different purposes.

Details zur Ausgabe

• Verlag: STANFORD UNIV PR
• Erscheinungsdatum: 2002
• Sprache: Englisch
• ISBN 10: 0804743509
• ISBN 13: 9780804743501
• Einband: Taschenbuch
• Anzahl der Seiten: 560
• Kontakt zum Hersteller: Mare Nostrum Group B.V.; gpsr@mare-nostrum.co.uk; ; Doelen 72; Breda; 4831 GR; Niederlande