文化研究的用途

內(nèi)容概要

　　麥克羅比是在文化研究領(lǐng)域中研究得最深入、最多產(chǎn)的評(píng)論家之一。她從她的視角，對(duì)六位關(guān)鍵性的文化理論家的著作進(jìn)行了明晰的、詳細(xì)的解讀。這六位理論家分別是：霍爾，吉洛伊，巴特勒，巴巴，布爾迪厄和詹姆遜?！　≡诒緯?，麥克羅比：　　·介紹了最近在該領(lǐng)域中她認(rèn)為最重要的成就　　·分析了他們對(duì)文化研究的貢獻(xiàn)　　·揭示了如何將這些洞察力運(yùn)用到當(dāng)代大眾文化的分析中　　本書對(duì)研究者和學(xué)生研究藝術(shù)、人文和社會(huì)科學(xué)等廣泛領(lǐng)域都會(huì)有極大的幫助，作者采用這種跨學(xué)科的研究方式將六位領(lǐng)軍性文化理論家聯(lián)系在一起，并在此基礎(chǔ)上強(qiáng)調(diào)了文化研究的價(jià)值。

書籍目錄

Introduction: Privilege and Delight1  Stuart Hall and the Inventiveness of Cultural Studies2  Black and Not-black: Gilroy's Critique of Racialised  Modernity3　No Woman, No Cry?Judith Butler and the Politics of Post-feminist Cultural Studies4　Look Back in Anger: Homi Bhabha's Resistant Subject of Colonial Agency5  Needs and Norms': Bourdieu and Cultural Studies6　Jameson's Postmodernity: The Politics of Cultural  CapitalismFurther Materials I: A Mixed Bag of Misfortune?Bourdieu's Weight of the WorldFurther Materials II: Mothers and Fathers, Who NeedsThem? Butler's AntigoneReferencesIndex

章節(jié)摘錄

　　From Bhabhas perspective art and theory are subjectivising practiceswhich can create politicised cultures， this is their distinct productivity.This is the agency of the author （Kim， 2001）. But what of the every-day actions and ways of living of peoples who have migrated and findthemselves carving out a living in the cities of the West？ Here is foundthe insurgent art of cultural translation; here also is found a newnesswhich is again otherwise than modernity. Moving between art and theexperience of migrant peoples， Bhabha points his readers to the domes-tic and affective realm which literature is able to conjure， unhomelinessfor example， or from Henry James the incredulous terror of experi-encing displacement， of not being at home. From Nadine Gordimer heremarks on how everyday domesticity and the environment of thehome became the very ground where the challenge to apartheid tookplace. Art and literature are capable of bringing into being intrinsicallyordinary intensities. The intimacy of experience where ruled and rulersco-exist reminds us of Gilroy making a similar point. Black people wereclose to and part of European modernity - in its bedrooms andkitchens - the backdrop to its conversations. It happened in theirpresence. So there is no question of black people or migrants coming belat-edly to modernity. Indeed Bhabha argues that the time-lag by whichmodernity sought to distance itself from the perceived slowness of itsothers， is actually critical to modernity. It needed this temporality toachieve domination. By writing （or bringing） this exclusion back intomodernity as its condition of existence， or its constitutive outside， a dif-ferent kind of modernity can be arrived at， one which is not so unlikeGilroys counter culture of Modernity. This is， according to Bhabha，a way of speaking back from these necessary margins， or originalspaces， a post-colonial translation of Modernity， which disputes thepastness or slowness typically assigned to others. These voices in turnmake modernity non-linear， combatively present and defiantly vibrant.In art and in writing， through this disputing of modernitys temporal-ity， there is also performative agency， in that to write in this way andwith memory as a forceful presence is to move beyond to create aspace for those who might share such historical trauma.

媒體關(guān)注與評(píng)論

　　一種啟人心智的靈性呈現(xiàn)在文化研究領(lǐng)域的過去、現(xiàn)在和將來……這既是一本學(xué)生課本，又不僅限于此。它具有條分縷析的寫作風(fēng)格，同時(shí)也帶有火熱的激情和極高的機(jī)智。　　——貝爾·施瓦茲，倫敦大學(xué)瑪麗皇后與西田學(xué)院　　這是一本非常重要的著作……它是文化研究領(lǐng)域中第一本教材，并做到了一本真正有用的教材所應(yīng)該做到的一切——它對(duì)該研究領(lǐng)域進(jìn)行了總結(jié)和描繪，并在這種總結(jié)和描繪中使它得以更新和進(jìn)一步向前發(fā)展。　　——萊瑞·格羅斯伯格，北卡羅來納大學(xué)，教堂丘校區(qū)

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