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Cancel Culture: Posthuman Hauntologies in Digital Rhetoric and the Latent Values of Virtual Community Networks
CANCEL CULTURE: POSTHUMAN HAUNTOLOGIES IN DIGITAL RHETORIC AND THE LATENT VALUES OF VIRTUAL COMMUNITY NETWORKS By Austin Michael Hooks Heather Palmer Rik Hunter Associate Professor of English Associate Professor of English (Chair) (Committee Member) Matthew Guy Associate Professor of English (Committee Member) CANCEL CULTURE: POSTHUMAN HAUNTOLOGIES IN DIGITAL RHETORIC AND THE LATENT VALUES OF VIRTUAL COMMUNITY NETWORKS By Austin Michael Hooks A Thesis Submitted to the Faculty of the University of Tennessee at Chattanooga in Partial Fulfillment of the Requirements of the Degree of Master of English The University of Tennessee at Chattanooga Chattanooga, Tennessee August 2020 ii Copyright © 2020 By Austin Michael Hooks All Rights Reserved iii ABSTRACT This study explores how modern epideictic practices enact latent community values by analyzing modern call-out culture, a form of public shaming that aims to hold individuals responsible for perceived politically incorrect behavior via social media, and cancel culture, a boycott of such behavior and a variant of call-out culture. As a result, this thesis is mainly concerned with the capacity of words, iterated within the archive of social media, to haunt us— both culturally and informatically. Through hauntology, this study hopes to understand a modern discourse community that is bound by an epideictic framework that specializes in the deconstruction of the individual’s ethos via the constant demonization and incitement of past, current, and possible social media expressions. The primary goal of this study is to understand how these practices function within a capitalistic framework and mirror the performativity of capital by reducing affective human interactions to that of a transaction. -
Stuart Hall: an Exemplary Socialist Public Intellectual?
Wilfrid Laurier University Scholars Commons @ Laurier Communication Studies Faculty Publications Communication Studies Summer 2014 Stuart Hall: An Exemplary Socialist Public Intellectual? Herbert Pimlott Wilfrid Laurier University, [email protected] Follow this and additional works at: https://scholars.wlu.ca/coms_faculty Part of the Journalism Studies Commons, Other Communication Commons, Other Film and Media Studies Commons, and the Social Influence and oliticalP Communication Commons Recommended Citation Pimlott, Herbert. 2014. "Stuart Hall: An Exemplary Socialist Public Intellectual?" Socialist Studies / Études socialistes 10 (1): 191-99. This Article is brought to you for free and open access by the Communication Studies at Scholars Commons @ Laurier. It has been accepted for inclusion in Communication Studies Faculty Publications by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. Socialist Studies / Études socialistes 10 (1) Summer 2014 Copyright © 2014 The Author(s) Feature Contribution STUART HALL: AN EXEMPLARY SOCIALIST PUBLIC INTELLECTUAL? Herbert Pimlott,1 Department of Communication Studies, Wilfrid Laurier University Abstract Most assessments of the influence of scholars and public intellectuals focus on their ideas, which are based upon an implicit assumption that their widespread circulation are a result of the veracity and strength of the ideas themselves, rather than the processes of production and distribution, including the intellectual’s own contribution to the ideas’ popularity by attending conferences and public rallies, writing for periodicals, and so on. This concise article offers an assessment of the late Stuart Hall’s role as a socialist public intellectual by connecting the person, scholar and public intellectual to the organisations, institutions and publications through which his contributions to both cultural studies and left politics were produced and distributed. -
The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 8-2012 The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno Joseph Weiss DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Weiss, Joseph, "The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno" (2012). College of Liberal Arts & Social Sciences Theses and Dissertations. 125. https://via.library.depaul.edu/etd/125 This Dissertation is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W. Adorno A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy October, 2011 By Joseph Weiss Department of Philosophy College of Liberal Arts and Sciences DePaul University Chicago, Illinois 2 ABSTRACT Joseph Weiss Title: The Idea of Mimesis: Semblance, Play and Critique in the Works of Walter Benjamin and Theodor W. Adorno Critical Theory demands that its forms of critique express resistance to the socially necessary illusions of a given historical period. Yet theorists have seldom discussed just how much it is the case that, for Walter Benjamin and Theodor W. -
RE-ANIMATING GHOSTS MATERIALITY and MEMORY in HAUNTOLOGICAL APPROPRIATION Abstract
INTERNATIONAL JOURNAL OF FILM AND MEDIA ARTS (2019) Vol. 4, Nº. 2 pp. 24-37 © 2019 BY-NC-ND ijfma.ulusofona.pt DOI: 10.24140/ijfma.v4.n2.02 RE-ANIMATING GHOSTS MATERIALITY AND MEMORY IN HAUNTOLOGICAL APPROPRIATION Abstract This research examines the spectrality of an- MICHAEL PETER SCHOFIELD imation and other media based on the photo- graphic trace. Using diverse examples from pop- ular culture and the author’s own investigative practice in media art, this paper looks at how ar- chival media is re-used and can be brought back to life in new moving image works, in a gesture we might call hauntological appropriation. While sampling and re-using old materials is nothing new, over the last 15 years we have seen an ongoing tendency to foreground the ghostly qualities of vintage recordings and found foot- age, and a recurrent fetishisation and simula- tion of obsolete technologies. Here we examine the philosophies and productions behind this hauntological turn and why the materiality of still and moving image media has become such a focus. We ask how that materiality effects the machines that remember for us, and how we re- use these analogue memories in digital cultures. Due to the multimodal nature of the author’s creative practice, photography, video art, doc- umentary film and animation, are interrogated here theoretically. Re-animating the ghosts of old media can reveal ontological differences between these forms, and a ghostly synergy be- tween the animated and the photographic. Keywords: hauntology, animation, memory, media * University of Leeds, United Kingdom archaeology, appropriation, ontology, animated [email protected] documentary 24 RE-ANIMATING GHOSTS MICHAEL PETER SCHOFIELD Every culture has its phantoms and the spectral- how we can foreground their specific materiality, and the ity that is conditioned by its technology (Derrida, haunting associations with personal and cultural memory Amelunxen, Wetzel, Richter, & Fort, 2010, p. -
Contemporary Perspectives and Engagements of Post-Crisis Social Movements Within the British Welfare State
Policy, protest and power: contemporary perspectives and engagements of post-crisis social movements within the British welfare state Gregory White PhD University of York Social Policy and Social Work March 2017 2 In memory of Mark Fisher (1968 – 2017) & Dedicated to the international anti-fascist movement 3 4 “Normally, when one challenges the conventional wisdom – that the current economic and political system is the only possible one – the first reaction you are likely to get is a demand for a detailed architectural blueprint of how an alternative system would work, down to the nature of its financial instruments, energy supplies, and policies of sewer maintenance. Next, one is likely to be asked for a detailed program of how this system will be brought into existence. Historically, this is ridiculous.” David Graeber “If, in fact, representational politics is only unreasonable, then it is to… moments of rational disruption, those events and occurrences that interrupt the everyday flow of a political discourse which thinks it’s being practical but is… incredibly unstable, that a true kind of [liberation] emerges.” Nina Power 5 6 Abstract Contemporary social policy in the UK is at a critical impasse: the ongoing government austerity programme has presented an unprecedented challenge to civil society organisations, trade unions and social movements as to questions of social justice and inequality. These challenges have manifested as: (1) tackling entrenched neoliberal narratives surrounding the welfare state; (2) organising and coordinating direct action and a (non-) institutional response. From the perspective of post-crisis social movements (such as Occupy London and UK Uncut), there has been a focus on non- institutional methods – often manifested in the form of direct action – to address social and economic injustices. -
Phd Thesis the Anglo-American Reception of Georges Bataille
1 Eugene John Brennan PhD thesis The Anglo-American Reception of Georges Bataille: Readings in Theory and Popular Culture University of London Institute in Paris 2 I, Eugene John Brennan, hereby declare that this thesis and the work presented in it is entirely my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signed: Eugene Brennan Date: 3 Acknowledgements This thesis was written with the support of the University of London Institute in Paris (ULIP). Thanks to Dr. Anna-Louis Milne and Professor Andrew Hussey for their supervision at different stages of the project. A special thanks to ULIP Librarian Erica Burnham, as well as Claire Miller and the ULIP administrative staff. Thanks to my postgraduate colleagues Russell Williams, Katie Tidmash and Alastair Hemmens for their support and comradery, as well as my colleagues at Université Paris 13. I would also like to thank Karl Whitney. This thesis was written with the invaluable encouragement and support of my family. Thanks to my parents, Eugene and Bernadette Brennan, as well as Aoife and Tony. 4 Thesis abstract The work of Georges Bataille is marked by extreme paradoxes, resistance to systemization, and conscious subversion of authorship. The inherent contradictions and interdisciplinary scope of his work have given rise to many different versions of ‘Bataille’. However one common feature to the many different readings is his status as a marginal figure, whose work is used to challenge existing intellectual orthodoxies. This thesis thus examines the reception of Bataille in the Anglophone world by focusing on how the marginality of his work has been interpreted within a number of key intellectual scenes. -
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Global histories a student journal Capitalist Realism, Disappointment, and the History of Sensibilities: A Case for Fiction as Historical Source Dennis Koelling DOI: http://dx.doi.org/10.17169/GHSJ.2021.352 Source: Global Histories, Vol. 6, No. 2 (January 2021), pp. 102-120. ISSN: 2366-780X Copyright © 2021 Dennis Koelling License URL: https://creativecommons.org/licenses/by/4.0/ Publisher information: ‘Global Histories: A Student Journal’ is an open-access bi-annual journal founded in 2015 by students of the M.A. program Global History at Freie Universität Berlin and Humboldt-Universität zu Berlin. ‘Global Histories’ is published by an editorial board of Global History students in association with the Freie Universität Berlin. Freie Universität Berlin Global Histories: A Student Journal Friedrich-Meinecke-Institut Koserstraße 20 14195 Berlin Contact information: For more information, please consult our website www.globalhistories.com or contact the editor at: [email protected]. Capitalist Realism, Disappointment, and the History of Sensibilities: A Case for Fiction as Historical Source by DENNIS KOELLING 102 Global Histories: a student journal | VI - 2 - 2020 Dennis Koelling | Capitalist Realism, Disappointment, and the History of Sensibilities 103 VI - 2 - 2020 | ABOUT THE AUTHOR Capitalism" at the European University Institute. Capitalism" University Institute. His dissertation examines the His dissertation examines University Institute. Dennis Koelling is currently a PhD-Researcher at the is currently a PhD-Researcher Dennis Koelling Department of History and Civilization at the European the John-F.-Kennedy-Institute at Freie Universität Berlin. the John-F.-Kennedy-Institute with a focus on neoliberal subjectivity, the recent history with a focus on neoliberal subjectivity, and history proper. -
University of Birmingham from Microsound to Vaporwave
University of Birmingham From Microsound to Vaporwave Born, Georgina; Haworth, Christopher DOI: 10.1093/ml/gcx095 Document Version Peer reviewed version Citation for published version (Harvard): Born, G & Haworth, C 2018, 'From Microsound to Vaporwave: internet-mediated musics, online methods, and genre', Music and Letters, vol. 98, no. 4, pp. 601–647. https://doi.org/10.1093/ml/gcx095 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility: 30/03/2017 This is a pre-copyedited, author-produced version of an article accepted for publication in Music and Letters following peer review. The version of record Georgina Born, Christopher Haworth; From Microsound to Vaporwave: Internet-Mediated Musics, Online Methods, and Genre, Music and Letters, Volume 98, Issue 4, 1 November 2017, Pages 601–647 is available online at: https://doi.org/10.1093/ml/gcx095 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. -
Mark Fisher – K-Punk
Mark Fisher – k-punk Mark Fisher, 1968 geboren, lebte in London und war Blogger, Schriftsteller und beschäftigte sich als Theoretiker mit radika- ler Politik, Musik und Populärkultur. Er schrieb u.a. für Sight & Sound, The Wire, The Guardian, Film Quaterly und frieze . Er lehrte an der Goldsmiths, University of London, sowie an der University of East London. Bekannt wurde er mit seinem Buch »Kapitalistische Realismus ohne Alternative?« (2013). Bei Tiamat erschienen: »Gespenster meines Lebens«, Berlin 2015, und »Das Seltsame und Gespenstische«, Berlin 2017. Am 13. Januar 2017 beging Mark Fisher Selbstmord. Titel der Originalausgabe: »k-punk. The collected and un- published writings of Mark Fisher (2004-2016)«, Repeater, London 2018. Die vorliegende deutsche Ausgabe enthält eine Textauswahl aus diesem Buch. Text Copyright © Mark Fisher 2018 Vorwort Copyright © Simon Reynolds 2018 Edition TIAMAT Deutsche Erstveröffentlichung 1. Auflage: Berlin 2020 © Verlag Klaus Bittermann www.edition-tiamat.de Druck: cpi books Buchcovergestaltung: Felder Kölnberlin Grafikdesign ISBN: 978-3-89320-247-8 Mark Fisher k-punk Ausgewählte Schriften 2004-2016 Mit einem Vorwort von Simon Reynolds Aus dem Englischen von Robert Zwarg Critica Diabolis 272 Edition TIAMAT Inhalt Vorwort von Simon Reynolds – 9 Warum K? – 21 Teil 1 Methoden des Träumens: Bücher Bücher-Meme – 27 Warum ich Ronald Reagan ficken möchte – 34 Was ist die Politik der Langeweile? (Ballard 2003 Remix) – 42 Lass mich deine Phantasie sein – 51 Eine Welt aus Furcht und Angst – 59 Ripleys Glam – 69 -
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DAYS OF TRAGEDY AND FARCE by Mervyn Jones On Tuesday, 30th October, 1956, after a week of street-fighting in Budapest between Hungarian insurgents and Soviet troops, Imre Nagy announced the formation of a multi-party government. Its Communist members-Nagy himself as Prime Minister, GCza Lozonczy, and Jinos Kidir-represented a repudiation of the detested regime of the former Party boss, Mityis Rgkosi; Kidir, indeed, had been imprisoned and tortured under Rikosi's rule. The other Ministers were drawn from the Social-Democratic Party, the Smallholders' Party, and the National Peasant Party (just renamed the Petofi Party in honour of the democratic revolutionary hero of 1848). The people were promised that elections would be held, but the four parties envisaged a period of 'democratic collaboration'. This was the culmination of a growing crisis, opening with the death of Stalin in March 195 3 and the realisation by his successors that his nominees- such as Rgkosi-had reduced their respective countries to a condition of instability. In Hungary, Moscow's policy was initially to find a new Communist leadership which would regain a degree of popularity. Accordingly, Nagy was made Prime Minister in July 1953 and did some- thing to lighten the burdens loaded by Raosi on to the working-class and the peasants. But Raosi still had friends in Moscow, remained Secretary- General of the Party, worked to limit or nullify Nagy's policies, and eventually regained full power with the dismissal of Nagy in March 1955. In June 1956 Rikosi was removed as a political liability, but his replace- ment by the equally contaminated Erno Gero meant that the crisis was merely accentuated. -
Hall, Stuart - Oxford Research Encyclopedia of Communication
Hall, Stuart - Oxford Research Encyclopedia of Communication http://communication.oxfordre.com/view/10.1093/acrefore/97801902286... Oxford Research Encyclopedia of Communication Hall, Stuart Toby Miller Subject: Critical/Cultural Studies Online Publication Date: Jul 2017 DOI: 10.1093/acrefore/9780190228613.013.46 Summary and Keywords Stuart Hall was a Jamaican-born, British-based theorist, critic, and activist, who flourished between the late 1950s and his death in 2014. Known both for his theoretical and empirical work on culture and communication and for his role as a public intellectual, Hall produced scholarly writings and charismatic teaching that were matched by his columns and interviews in magazines and newspapers and appearances on television and radio. Keywords: Stuart Hall, cultural studies, Marxism, ideology, hegemony, conjuncture, articulation, racism, post-structuralism Introduction Stuart Hall was the public face of cultural studies in England and a spirited advocate of critical multiculturalism. He authored and edited, both alone and with others, many essays and books of original ideas and research, including The Popular Arts (Hall & Whannell, 1965), Resistance Through Rituals (Hall & Jefferson, 1976), Policing the Crisis (Hall et al., 1978), Culture, Media, Language (Hall et al., 1980), The Hard Road to Renewal (Hall, 1988), New Times (Hall & Jacques, 1989), and After Neoliberalism? (Hall et al., 2015). He was also a founding editor of two significant journals, New Left Review, in the 1960s and Soundings, in the 1990s. Following studies in Jamaica and Oxford, Hall spent his scholarly life in two very different environments. First, he worked at the University of Birmingham’s Centre for Contemporary Cultural Studies between 1964 and 1979. -
Mark Fisher Goldsmiths, University of London / University of East London (UK)
The Metaphysics of Crackle: Afrofuturism and Hauntology Feature Article Mark Fisher Goldsmiths, University of London / University of East London (UK) Abstract There has always been an intrinsically “hauntological” dimension to recorded music. But Derrida’s concept of hauntology has gained a new currency in the 21st century, when music has lost its sense of futurism, and succumbed to the pastiche- and retro- time of postmodernity. The emergence of a 21st century sonic hauntology is a sign that “white” culture can no longer escape the temporal disjunctions that have been constitutive of the Afrodiasporic experience since Africans were first abducted by slavers and projected from their own lifeworld into the abstract space-time of Capital. Time was always-already out of joint for the slave, and Afrofuturism and hauntology can now be heard as two versions of the same condition. Keywords: Hauntology, Afrofuturism, dub, phonography, rockism Mark Fisher is the author of Capitalist Realism (2009) and the forthcoming Ghosts Of My Life: Writings on Depression, Hauntology and Lost Futures. His writing has appeared in many publications, including The Wire, Frieze, The Guardian and Film Quarterly. He is Programme Leader of the MA in Aural and Visual Cultures at Goldsmiths, University of London and a lecturer at the University of East London. Dancecult: Journal of Electronic Dance Music Culture 5(2): 42–55 ISSN 1947-5403 ©2013 Dancecult http://dj.dancecult.net DOI 10.12801/1947-5403.2013.05.02.03 Fisher | The Metaphysics of Crackle 43 [In] “Phonograph Blues” . Johnson sings, with too much emotion it seems, about his broken record player.