Download Antonio Gramsci (Routledge Critical Thinkers) by Steven J. Jones PDF

By Steven J. Jones

For readers encountering Gramsci for the 1st time, Steve Jones covers key parts of his concept via distinctive dialogue and experiences the historic context of the theorist's proposal, deals examples of placing Gramsci's rules into perform within the research of latest tradition and evaluates responses to his work.

Including British, ecu and American examples, key themes lined the following include:

* culture
* hegemony
* intellectuals
* crisis
* Americanization.

Gramsci's paintings invitations humans to imagine past simplistic oppositions through recasting ideological domination as hegemony: the facility of a ruling power's values to reside within the minds and lives of its subalterns as a spontaneous expression in their personal interests

Is strength easily an issue of domination and resistance? Can a ruling strength be susceptible? Can subordinates locate their resitance neutralized? and what's the function of tradition during this? those questions, and plenty of extra are tackled the following during this useful creation to Gramsci.


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Extra info for Antonio Gramsci (Routledge Critical Thinkers)

Example text

But it does not therefore present the origin or absolute positively. Its semblance character prevents this and means that it only reveals the repression internalized through the enlightenment, through the mediation of the enlightenment itself. This explains why Adorno is so critical of projects to reveal an originary language positively, or a synaesthetic overcoming of the alienated sensibility of enlightenment rationalization, or indeed a Gesamtkunstwerk that would overcome the alienation of the arts from one another.

THE CRITIC AND THE 'MASS' Never a central point of reference in Anglo-American literary studies, Adorno's work has become even more marginalized with the advent of a cultural studies perspective. There are two main reasons for this. The first is his disdain for mass culture and the associated focus on literary modernism. The other is the sense that his work has little relevance to the issues of identity politics ('race', feminism, the post-colonial subject) that have become so central to cultural studies of literature (Soper 1999:67—70; 2004:49—52).

This involves a plural and finite overcoming of the hypostatized absolutization of art in Romanticism, which he takes to be an essential precondition for the present: The romanticism of 'art' — of absolute or total art — consists in hypostatising the Infinite End (Poetry, Fragment, or Gesamtkunstwerk). With Sources of Criticism in Adorno 23 that, technique dissolves into the form of the 'genius'. To overcome romanticism is to think rigorously the in-finite, which is to say, its finite, plural, heterogeneous constitution.

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