ResumenEn el presente artículo se pretende sacar a la luz los presupuestos filosóficos e ideológicos que subyacen a la teoría del pastiche postmoderno del pensador norteamericano Fredric Jameson. Pese a que las descripciones que se encuentran en La lógica cultural del capitalismo tardío son breves y escuetas, los fundamentos marxistas y estructuralistas que las ahorman ayudan a entenderla. En paralelo, se explica una de sus tesis más desconocidas, la relativa a la llamada «película nostálgica», y se explica su actitud (...) ante otras manifestaciones artísticas postmodernas como la arquitectura historicista.Palabras clavePostmodernismo, pastiche, Fredric Jameson, arquitectura postmoderna, película nostálgicaAbstractThis paper intends to clarify the philosophical and ideological backgrounds that underlie the North American thinker Fredric Jameson’s theory of the postmodern pastiche. Despite the fact that the descriptions provided in Postmodernisms, Or the Cultural Logic of Capitalism are brief and succinct, the Marxist and Structuralist foundations that form them can help understand thistheory. In parallel, we explain one of his lesser known theses, the so called «nostalgic movie», and his attitude towards other artistic postmodern manifestations as the historicist architecture.KeywordsPostmodernism, pastiche, Fredric Jameson, postmodern architecture, nostalgic movie. (shrink)

Outside of the Vulcans, Klingons are the most enduringly famous humanoid race in the Star Trek universe, a fearless and fearsome interstellar military power in the Beta Quadrant. The Klingons are singularly intriguing as a veritable pastiche, a motley conglomeration, of various human cultures. Klingon culture is so well developed, in fact, that they are the only Star Trek race to have had their language published in a dictionary for fans who wish to nurture their inner warrior spirit. This (...) chapter explores some of the human cultural representations that find in the favorite bumpy‐headed, bat'leth‐swinging, raktajino‐drinking aliens that can help to reflect on how human society has evolved and where one may be headed in the future. The Klingon religion is an interesting combination of mythical and spiritual elements, along with a grounded humanism that characterizes Gene Roddenberry's fundamental vision of the future by eschewing the contemporary existence of deities. (shrink)

While the traditional boulevard novel of Eugène Sue wants to entertain and sell, Umberto Eco's boulevard novel wants to entertain and educate the contemporary reader in Italian history and in a form of modern semiotic theory. However, Eco's educational mission does not transform the low genre of the boulevard novel but remains bound by its limitations of “rhetoric and ideology.” Eco's reader is left with a representation of history as pastiche and a populist misconception about the potential of semiotics (...) to relativise the perception of reality. Both history and semiotics are ultimately used by Eco not as heuristic devices but as instruments of seduction directed at a modern middle-class reading public with intellectual aspirations. (shrink)

El presente trabajo se sitúa en el marco teórico-conceptual de la posmodernidad estética de Frederick Jameson. Tras destacar las nuevas características que adquiere la experiencia estético-artística en su etapa posmoderna, se hace énfasis en el análisis de los conceptos –pastiche y esquizofrenia– como las dos distinciones más importantes de la sensibilidad posmoderna. Su análisis responde a un doble objetivo. Por un lado, siendo una “herramienta conceptual”, aclara la situación del arte en su “estado posmoderno”, explicando y justificando los cambios (...) durante el transcurso de las últimas décadas. Por el otro, contribuye a la mayor comprensión del mismo fenómeno de la posmodernidad, presentado por Jameson como dominante cultural del capitalismo tardío. (shrink)

There is a puzzle over why some literary works which are less esteemed are subject to more commentary and some literary works which are more esteemed are subject to less. By examining Max Beerbohm’s pastiche of Joseph Conrad, I propose an answer regarding pastiches.

This paper presents an attempted pastiche of the writing and thinking style of the distinguished anthropologist Marilyn Strathern. The claim about the consequence of avoiding the charge of exoticism resembles the paradox of analysis.

It is tempting to always try to distinguish convincing from poor literary imitation by micro-analysis. The analysis observes various patterns of word and punctuation use in the original and compares those with the imitation. I argue that no such sophistication is needed when faced with Max Beerbohm’s imitation of Joseph Conrad.

In this paper, I try to define literary pastiche and present five uses of the practice. The appendix briefly presents a response I anticipate from Davidsonians to Michael Morris on alternative conceptual schemes.

The critical analysis of the concept of identity has marked implications for gender studies, specifically in relation to fragmenting the notion of static and metaphysical identity of sexualized subjects. This paper analyzes how gender identity can be constructed and reconstructed based on culture, periods in history, symbolism and the discourse of power. To this end, this article will discuss various concepts of gender identity described in the work of Sigmund Freud and Jacques Lacan, as well as the concepts of performativity (...) and gender parody developed by Judith Butler. Finally, the concept of pastiche, developed by Fredric Jameson, will be discussed. Photographs of Cindy Sherman’s Centerfolds will be used as support. (shrink)

Fakes fall into two categories: copies and pastiches. The first is exemplified when someone paints a reproduction of Manet's The Fifer with the intention of selling it to you as the original. The second is exemplified when someone paints a picture in the style of Manet – although not a reproduction of one of his actual works – with the intention of selling it to you as a picture by Manet.

"A rich historical pastiche of 17th- and 18th-century philosophy, science, and religion."—G. Y. Craig, New Scientist "This book, by a distinguished Italian historian of philosophy, is a worthy successor to the author's important works on Francis Bacon and on technology and the arts. First published in Italian (in 1979), it now makes available to English readers some subtly wrought arguments about the ways in which geology and anthropology challenged biblical chronology and forced changes in the philosophy of history in (...) the early modern era.... [Rossi] shows that the search for new answers about human origins spanned many disciplines and involved many fascinating intellects—Bacon, Bayle, Buffon, Burnet, Descartes, Hobbes, Holbach, Hooke, Hume, Hutton, Leibniz, de Maillet, Newton, Pufendorf, Spinoza, Toland, and, most especially, Vico, whose works are impressively and freshly reevaluated here."—Nina Gelbart, American Scientist. (shrink)

This paper is a pastiche of the Lacanian philosopher Renata Salecl, my fourth attempt, combined with a note. In it I present a response I anticipate from analytic philosophy to the thesis that the signifier has priority over the signified: that this thesis is either trivially true or obviously false.

En 1969, Ernesto Cardenal publica Homenaje a los Indios Americanos. Veintitrés años después, para el quinto centenario del encuentro entre los dos mundos, Cardenal reedita una versión aumentada de este primer homenaje: Los ovnis de oro (1992). En el presente artículo, se visibilizarán, en la lectura de estos dos textos, los mecanismos poéticos que emplea Cardenal para reflexionar sobre su tiempo desde imaginarios y categorías amerindias.

Presented in the popular Cambridge Texts format are three early Platonic dialogues in a new English translation by Tom Griffith that combines elegance, accuracy, freshness and fluency. Together they offer strikingly varied examples of Plato's critical encounter with the culture and politics of fifth and fourth century Athens. Nowhere does he engage more sharply and vigorously with the presuppositions of democracy. The Gorgias is a long and impassioned confrontation between Socrates and a succession of increasingly heated interlocutors about political rhetoric (...) as an instrument of political power. The short Menexenus contains a pastiche of celebratory public oratory, illustrating its self-delusions. In the Protagoras, another important contribution to moral and political philosophy in its own right, Socrates takes on leading intellectuals (the 'sophists') of the later fifth century BC and their pretensions to knowledge. The dialogues are introduced and annotated by Malcolm Schofield, a leading authority on ancient Greek political philosophy. (shrink)

This study explores the potential of contemporary large language models (LLMs) to achieve Gilles Deleuze’s goal of integrating art into daily life. Deleuze’s philosophy, with its focus on creative repetition, finds a parallel in LLMs, which replicate and innovate artistic styles by transforming text prompts into various artistic expressions. Although LLMs can very effectively blend and mimic these styles, they remain mere tools – as suggested by the metaphor of a stochastic parrot; the true creative force remains the human artist. (...) Currently, these models are experimental, and their artistic outputs, while impressive, are still viewed as pastiches rather than genuine art. Nonetheless, we can expect advances that may soon enable artists to use LLMs to create genuine artworks. (shrink)

‘Bioethics still has important work to do in helping to secure status equality for LGBT people’ writes Timothy F. Murphy in a recent Bioethics editorial. The focus of his piece, however, is much narrower than human rights, medical care for LGBT people, or ending the HIV/AIDS pandemic. Rather, he is primarily concerned with sexuality and gender identity, and the medical intersections thereof. It is the objective of this response to provide an alternate account of bioethics from a Queer perspective. I (...) will situate Queer bioethics within Queer studies, and offer three ‘lessons’ that bioethics can derive from this perspective. These are not definitive rules for Queer bioethics, since it is a field which fundamentally opposes categorizations, favoring pastiche over principles. These lessons are exploratory examples, which both complement and contradict LGBT bioethics. My latter two lessons – on environmental bioethics and disability – overlap with some of Murphy's concerns, as well as other conceptions of LGBT bioethics. However, the first lesson takes an antithetical stance to Murphy's primary focus by resisting all forms of heteroconformity and disavowing reproduction as consonant with Queer objectives and theory. The first lesson, which doubles as a primer in Queer theory, does heavy philosophical lifting for the remainder of the essay. This response to Timothy F. Murphy, whose work is certainly a legacy in bioethics, reveals the multiplicity of discourses in LGBT/Queer studies, many of which are advantageous – even essential – to other disciplines like bioethics. (shrink)

When considering metalanguage activity, the fact of "reported discourse" is encompassed within the broader field of "representation of other discourse", in which the discourse in progress represents another discourse. While the relationship thus established is traditionally considered at the level of statements, through the realizations of the various modes of representation of the other discourse (direct discourse, indirect discourse, bivocal discourse, autonymic borrowing modalization, second assertion modalization), this article proposes to examine the articulation between a representing unit and a represented (...) unit at the level of the text. It shows how the representation of the other discourse can appear as a primary defining criterion for a variety of discourse genres (summary, press review, pastiche...) thus brought together in a generic space. Finally, he sets out to delimit a specific zone within this space, bringing together genres in which the representing discourse has the property of substituting or "taking the place of" the represented discourse, provided it obeys social and institutional prescriptions, such as the genres of the "minutes" or the "report of meeting". (shrink)

Tom Stoppard is justly praised by many for what are perceived as his technical skills as a dramatist—his wit, his seriousness, his mastery of parody and pastiche, his impressive control of dramatic structure. Stoppard earns his place as a giant of modern drama from these qualities. They, however, are not what concern me here. His plays are also in various ways riddled with philosophy. My purpose in this paper is to examine the claim that he is a philosopher's dramatist, (...) rather than a dramatist's dramatist or an ordinary thinking man's dramatist. I am not concerned with how far Stoppard himself as a matter of biographical fact may wish to make this claim, although Stoppard has made no secret of his fascination with Philosophy. I make the claim myself in order both to offer an interpretation of certain dramatic texts and to raise certain questions about philosophical method. I hope to show that to understand certain ways in which Stoppard's plays are philosophical is to appreciate something profound about the way in which philosophy and drama are akin—that is, I hope to make critical and philosophical points, not historical or biographical points. (shrink)

In this paper I argue that Socrates' speech in Plato’s Symposium cannot by itself express Plato’s view of love. All the non-philosophical speeches, each standing for a different contemporary view of love, should be taken into serious consideration, for they are not mere pastiches of empty theories. In fact, they seem to have been placed there to have their intellectual strength tested by philosophy, for not only their contents reveal commonsensical accepted wisdom, but their discursive beauty powerfully impresses the audience, (...) making them true challenges to the cold, though persuasive logos of philosophy. Furthermore, placing Alcibiades' speech right after Diotima’s austere account of love, when the program of speeches as proposed seemed to have arrived at an end, would be unnecessary, if Plato’s aim were simply to disapprove Alcibiades’ behavior to excuse Socrates political attitudes, as it is assumed by Leon Robin in his Notice to his famous translation to the Belles Lettres edition. On the contrary, Alcibiades’ speech sounds more like a criticism of Socratic love made by Plato himself. (shrink)

This article introduces postmodernist trends in late Soviet thought through the prism of the three generations: the philosopher and writer Aleksandr Zinoviev, the poet, artist, and theorist Dmitrii Prigov, and the youngest Soviet conceptualist artistic group “The Medical Hermeneutics Inspectorate” as represented by Pavel Peppershtein, Sergei Anufriev, and Yurii Leiderman. The article shows how Conceptualism, an influential artistic and intellectual movement of the 1970s–1980–s, used the Soviet ideological system as a material for philosophical parody and pastiche, often characterized also (...) by a lyrical and nostalgic attitude. Conceptualism was not merely an artistic trend: its metaphysical significance is revealed in Aleksander Zinoviev's “satirical” treatises, in Dmitrii Prigov's “shimmering” aesthetics, and in “heremeneutic” performances of younger artists who demonstrate the emptiness of all existing canons and the canon of emptiness itself. (shrink)

An eye-opener and a head-scratcher, this set of fifty exercices de style offers an oblique and learned introduction to a great classic of ludic literature dating from the twelfth century, the Maqamat of al-Hariri. Each of the fifty tales of the trickster Abu Zayid, some or perhaps all of which contain or are constituted by one or more formal restrictions, is here presented in the form of a pastiche of some familiar or exotic register of writing in English. We (...) can only admire Cooperson for having taught himself to channel Chaucer, Woolf, and Twain, to parrot Singaporean, Nigerian, and Indian English, to compose in dramatic form and in verse, and to riff off Austen as well as a dictionary of law.... What is frustrating to readers is that our translator-imposter does not let us play the game. He explains each exercise and justifies his approach to it in a prefatory note, then adds footnotes, a bibliography, and a glossary of the “dialect” chosen. We are not even allowed to play guess-the-author! The aim of the elaborate and scholarly apparatus attached to these imitative imitations is to give a hint—a necessarily and unapologetically misleading one—of the pleasure and value of the medieval Arabic for its first and later readers.The problem is that pastiche is not only an entertaining exercise. It typically serves a purpose located somewhere between mockery and homage, and sometimes plays both ends against the middle. Cooperson, however, is not mocking Dickens or Gibbon, even less the al-Hariri he clearly admires beyond all others. Consequently, the nonparticipant reader becomes ever more baffled as to what the game is really for. Surely it cannot be intended only to show us how clever and knowledgeable Mr. Cooperson is? Which he certainly is, but not beyond tripping over his own skipping rope. For example, the prisoner's constraint used in the middle of a pastiche of Dickens, when implemented in the way it was defined by its inventor Paul Fournel, excludes the letter z and also cannot accommodate the tilde of señor—and Dickens would have written bade for the past tense of bid. The more you read, the less you smile, the more you quibble as you are drawn into a surely unintended game of spot-the-blooper.It takes genius to write like someone else, which is why the people who get away with it for real use a battery of extratextual devices to deceive (think of Guilleragues, Ossian, Chatterton, Kuzma Proutkov, Romain Gary... ). Cooperson is not seeking to deceive (yet how can a pastiche not gesture toward deception?), but he is not actually offering fifty linked stories by fifty different hands either. What he has produced with the help of his distinguished préfacier, two editors, and a bevy of consultants is a curiously unidentifiable literary object, and quite possibly the only one of its kind.Two statements made by the translator in his introduction disturb me. He says he avoided using most twentieth-century literary models and references in order not to run into copyright issues. This is a declaration of submission to the Copyright Monster invented and unleashed by publishers in flagrant disregard of the laws of the UK, the US, and the EU, all of which allow parody and pastiche without permission of the copyright holder. Second, he “takes seriously the argument that privileged users of Standard English have no business imitating... the speech varieties associated with less privileged communities.” In all times other than our own, the privileged did not deign to use “less privileged” forms of speech (unless they were Victor Hugo), but if now they do not even dare, we can still guess what will happen. The less privileged will seek to use more privileged forms of speech, just as Anglo-Saxon serfs aped Norman French until they ended up speaking English. More recently, wealthy corporations have sought to own whole programming languages by extending the reach of copyright law; perhaps “less privileged communities” are now about to use similar weapons to protect their linguistic turf. We must object as noisily as we can to attempts to enclose public goods by corporations, by self-defining communities, or by any other entities. We would all be the poorer if they should ever succeed. (shrink)

Although an elusive concept, "camp" can be found in most forms of artistic expression, revealing itself through an aesthetic of deliberate stylization. Fashion is one of the most overt and enduring conduits of the camp aesthetic. As a site for the playful dynamics between high art and popular culture, fashion both embraces and expresses such camp modes of enactment as irony, humor, parody, pastiche, artifice, theatricality, and exaggeration. Drawing from Susan Sontag's seminal essay "Notes on 'camp,'" the book explores (...) how fashion designers have used their metier as a vehicle to engage with the camp aesthetic in compelling, humorous, and sometimes incongruous ways. As a sartorial manifestation of the camp sensibility, this thought-provoking publication contributes new theoretical and conceptual insights into the camp canon through texts and images. Stunning new photography by Johnny Dufort highlights works by such fashion designers as Virgil Abloh, Thom Browne, Jean-Charles de Castelbajac, John Galliano, Jean Paul Gaultier, Marc Jacobs, Karl Lagerfeld, Alessandro Michele, Franco Moschino, Miuccia Prada, Richard Quinn, Yves Saint Laurent, Elsa Schiaparelli, Jeremy Scott, Anna Sui, Gianni Versace, and Vivienne Westwood. (shrink)

Une oeuvre d'art n'existe pas en soi, toujours presentant la meme apparence et le meme sens a l'observateur. Si cela est vrai d'un tableau ou d'un poeme, combien plus encore de la musique qui doit etre lue puis interpretee pour etre seulement entendue? Pastichant Valery on pourrait ecrire : " C'est l'execution de la sonate qui est la sonate ". Quant a ce sens, relatif, imprecis, fuyant, nous faisons, en ces temps de retrouvailles avec la musique des XVIIe et XVIIIe (...) siecles, la significative experience de son inconstance. Comment interpreter cette musique? Comment la chanter? Comment la comprendre? " Son hieroglyphe est si leger et si fugitif... " ecrivait Diderot a Mademoiselle de la Chaux. (shrink)

Ce livre traite de l'image, mais aussi, plus generalement, de la copie, du double, de la representation, du calque, du sosie... La philosophie, a juste titre, a mis en garde contres ces si dangereux reflets. Ne doit-on pas preferer ce qui est a ce qui l'imite ou le mime? Mefions-nous des leurres! Cependant, on est revenu sur cette seculaire et injuste condamnation. La technologie moderne a peu a peu sauve celle qu'on avait trop inferiorisee et eloignee. Et quelle victoire! L'image (...) numerique, donc celle de synthese, l'arrache a une servitude que les philosophes classiques et meme plus modernes avaient scellee. L'electro-optique, la tomodensitometrie (scannographie), l'holographie, entre autres, multiplient les prouesses liberatrices. Dans le passe, la photographie, voire la radiographie avaient deja ebranle les anciennes positions. La guerre commencait. L'imagerie deferle donc, ainsi que l'industrie noire des contrefacons, des plagiats, des pseudo-repliques, du pastiche. Les trucages et la fraude. Mais ou situer aujourd'hui le vrai et le faux? Comment distinguer le modele et son equivalent? Les vieilles frontieres, comme on le montrera, s'estompent. Quel branle-bas et quelle fete aussi! On a voulu prendre acte de cette nouveaute. Hatons-nous, malgre le danger de nous y perdre, d'engager la philosophie que nous croyons reticente dans ce tourbillon. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bodily Arts: Rhetoric and Athletics in Ancient GreeceMindy FenskeBodily Arts: Rhetoric and Athletics in Ancient Greece by Debra Hawhee. Austin: University of Texas Press, 2004. Pp. xiv + 226. $40.00, hardcover.In Bodily Arts, Debra Hawhee constructs an often compelling, always interesting case for the conceptual and material linkages between the ancient arts of rhetoric and athletics. In so doing, Hawhee also highlights the integral role of the musical (...) arts to rhetorical and athletic training. Throughout the book, Hawhee weaves together close readings of multiple texts (poetry, oratory, sculpture, painting, architecture) in order to illuminate the intricate “network of overlapping practices” that connect the bodies of rhetoric, athletes, and musicians in Ancient Greece. To this reader, the central strengths of the study are methodological as well as conceptual. In terms of method, Hawhee carefully and with studied finesse integrates close readings of visual, spatial, and verbal texts and practices. In the wrong hands, this type of endeavor can easily appear as the worst kind of pastiche. Not so in this case where Hawhee manages the textual interpretation with deft expertise. Conceptually, the central premise that rhetoric was a practice that was fully embodied and, most importantly, that embodiment was not in a hierarchical relation to reason, rationality, and the mind is provocative. Hawhee argues that the relations of mind-body in Ancient Greek culture were understood as a complex interlocking system that, when trained through physical practices emphasizing rhythm, repetition, and response (to/with an encounter), resulted in the possible transformation of the very nature of the self. [End Page 197]In the process of constructing the argument for the connections between rhetorical and athletic training and performance, Bodily Arts moves through three phases. The Introduction and first three chapters lay the theoretical groundwork for the second phase: the introduction of the concept of phusiopoieses in Chapter 4. Chapters 5–7 then discuss the actual rhetorical and athletic spaces, practices, and bodies of and in phusiopoiesis.The introduction opens with description of a first-century BC bronze statue of an “Antikythera Youth” (3). Hawhee uses the mystery surrounding the identity of the figure (deciphered largely through interpretations of the actions implied by the stature of the statue) to articulate the connections between the body of the rhetor and the body of the athlete as well as to introduce the importance of the body to Greek values of hexis (comportment) and aretē (virtuosity). The Introduction also presents three critical relations that serve both as conceptual departure points as well as hail the multiple audiences of the book: relations of body and mind, learning and performing, and classical studies and rhetorical studies. Hawhee’s perspective is quite straightforwardly that rhetoric is an art that required physical training and physical performance.Chapter 1, “Contesting Virtuosity: Agonism and the Production of Aretē,” connects the values of agon and aretē and argues that the “very logic for linking rhetoric and athletics” lies at the heart of this relation (22). Hawhee argues that agon and aretē are less about ends (victory and virtue) and more centrally concerned with embodied processes. Agon, through Hawhee’s reading of Hesiod’s Work and Days, is articulated as a mode of encounter that produces a particular, and possibly transformative, response. Aretē is the bodily performance of virtuosity. Central to this performance, according to Hawhee’s interpretation of the Olympic ethos through Pindar’s poetry, is the activity of questing. Aretē is demonstrated rather than simply won or attained. Following these definitions of agon and aretē, the chapter moves to illustrating the shared language of rhetoric and athletics in terms of these values. Hawhee argues that this shared vocabulary confirms that sophistic rhetoric was understood and practiced as an embodied and agonistic art “fused and infused” with athletics (43).In Chapter 2, “Sophistic Mētis : An Intelligence of the Body,” Hawhee describes mētis as cunning and somatic becoming that “infuses the arts of rhetoric and athletics with a kind of bodily intelligence... not an explicit set of precepts but rather a tacit style of movement running through most kinds of actions, including thought” (47). Moreover, the movement of mētis [End Page 198] is corporeal. It... (shrink)

Di fronte alla varietà di espressione artistiche che si pongono, o si sono poste, sotto il sigillo del Postmoderno, si vuole qui indagare se esso sia un variegato, e generico, movimento artistico sviluppatosi, a partire dagli anni Settanta, nel design, nell’architettura, nell’urbanistica, nel cinema o comunque nella generalità di quelle che un tempo erano chiamate “arti figurative” oppure un autonomo stile, con i suoi propri e specifici connotati. Il punto di partenza è, in ogni caso, che il Postmoderno è una (...) strategia artistica associata a idee “radicali” e che, contrapponendosi, almeno implicitamente, al “Modernism”, ne spezza il progressivo universalismo adottando strategie legate alla parodia, al pastiche, alla citazione, in modo da reinventare il passato. Spezzare la narrazione del Moderno genera progressivamente, anche se non con evidenza, un nuovo “stile”, che pervade il mondo delle arti e della comunicazione. La conclusione, tuttavia, è che il Postmoderno non possa definirsi solo come “rottura” dei fondamenti dei vari “modernismi”. Al contrario, se se ne vuole comprendere un senso teorico e artistico, bisogna dedurre che esso si pone nella strategia del Moderno, inteso come pluralità dialogica, dove privilegiare una voce piuttosto che un'altra è solo il segno della scelta di una specifica curvatura interpretativa, non di una verità che si afferma a scapito di altre. La difficoltà di restringere questo mobile e variegato insieme in una sola immagine, induce così alla certezza che, proprio in virtù delle sue irrisolte aporie, l’epoca in cui viviamo sia nata qui: la genesi e lo sviluppo del Moderno ha mostrato che non vi è spazio per un’astratta purezza e che meccanico e organico, ragione e retorica, logica ed estetica, storico e antistorico, pur opposti, e per nulla dialettici, in una società che non è, e non sarà mai, di “puri spiriti”, hanno prodotto quella complessità che anche oggi attraversiamo, “nominandola” in vari modi. (shrink)

Among the astonishing variety of sources mentioned in Martin Jay's new book on lying in politics the reader will find ancient Greek philosophical dialogues, pamphlet controversies between eighteenth-century philosophers, post-structural literary theories and, resting easily among the likes of these, a familiar old joke. “How can you tell when a politician is lying?” Jay asks. “He moves his lips” is the answer my grandfather used to give, and that is the punch-line that Jay recounts here. But my grandfather told the (...) joke as part of a syllogism whose unstated premise was “lying is bad” and whose common-sense conclusion was that politics is corrupt. Jay is not satisfied with that conclusion. His book, The Virtues of Mendacity: On Lying in Politics , puts forward a very different argument: He assumes that politics is worthwhile, suggests that it is unavoidably linked to lying, and concludes that lying must not be as bad as we think it is. There are a host of complications and caveats, so many that one could spend a whole review admiring the virtuosity involved in constructing such a rich pastiche of historical episodes and texts touching on mendacity. But the frisson that the book provokes comes almost entirely from its willingness to flirt with the endorsement of vice, so any serious engagement with it cannot avoid responding in some way to that flirtation. (shrink)

Nietzsche’s relationship with Wagner has long been a source of controversy and has given rise to a number of important studies, including this major breakthrough in Nietzsche scholarship, first published in 1982. In this work Hollinrake contends that the nature and extent of the anti-Wagnerian pastiche and polemic in _Thus Spake Zarathustra_ is arguably the most important factor in the association between the two. Thus Wagner, as the purveyor of a particular brand of Schopenhauerian pessimism, is here revealed as (...) one of the principle sources – and targets – of _Zarathustra_. Whilst addressed primarily to students of German Literature, this book will also be of interest to musicians, philosophers and students of the history of culture and ideas. (shrink)

This article considers a strange, understudied work of eighteenth-century musical theatre, Thomas D’Urfey’s Wonders in the Sun (1706). This highly intertextual, generically heterogeneous comic opera is a pastiche of literary and performative modes and ultimately a machine for generating wonder; it draws on elements from Aristophanes’ The Birds, seventeenth-century masque and semi-opera, as well as the lunar fictions. The article situates this play not only within a history of literary wonder and stage spectacle, but within the English tradition of (...) politicized animal fable. Discussing D’Urfey’s comic opera against selections from John Gay’s Fables, it argues that the utopian/dystopian animal in these imaginative satires reveals the period’s twinned fascinations with discovery and alterity, as well as emergent discomfiture with anthro- and Eurocentric Enlightenment beliefs. (shrink)

mim•ic•ry (n.pl.mim•ic•ries) 1. (a) the art, practice, or art of mimicking; (b) an instance of mimicking. 2. Biology: The resemblance of one organism to another, or to an object in its surroundings for concealment and protection from predators. In evolutionary biology, mimicry is a similarity of one species to another, which protects one or both. This similarity can be in appearance, behaviour, sound, scent or location. Mimics are typically found in the same areas as their models. The pervasive condition of (...) African architectural education and practice is one of mimicry, in which students and architects are (sub-consciously) driven to copy ‘solutions’ posed by practitioners outside the continent, most typically European or American, whose understanding and experience of Africa is often limited in nature. Wired, switched-on and connected, current and future young African architects are able, at the click of a finger, to peruse the ‘appearance, behaviour and [even] scent and sound’ of buildings and architectural projects that they may never experience ‘in the flesh’, but whose form, material and programmes are multiplying across the continent in ways and places that their original ‘makers’ could not possibly have imagined. Maboneng is now ‘the Manhattan of Africa’; Kigali its Singapore. Unlike biological mimics, in this context a ‘cut-and-paste’ approach neither protects nor conceals: it simply exposes. As far back as 1997, the Dutch architect and theorist, Rem Koolhaas, argued that it had become increasingly important for architects to operate on a level independent of architecture in order to understand, at the most basic level, the phenomena affecting the development of architecture and the city. In this article, rather than treat ‘cut-and-paste’ as pastiche, a quick-fix intervention that solves the ‘problem’ of original thinking, a new proposition for An Architectural Brief, for An (as yet) Unnamed African Architectural Student, in An (as yet) Unnamed African Location is proposed which fuses art, culture and digital technology to demand a radical, post-Afro urban example. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.2 (2001) 85-97 [Access article in PDF] Reading's Reason Iain Morland [W]e must first of all recognize [...] how modes of reasoning that were once necessary can spring out of particular situations and be put to new tasks. —Michel de Certeau, Culture in the Plural Introduction: Reading after Reason? Reading is unreasonable. If, as Theodor Adorno has contended, to write poetry after Auschwitz is barbaric, then surely reading—whether (...) of poetry, philosophy, or newsprint—is doubly obscene ["Cultural Criticism" 34]. For Adorno, such barbarism means inattentiveness to barbaric historical truths; it is the misuse of rhetorical reflexivity for the perpetuation, rather than the critique, of social conditions. In other words: to write poetry after Auschwitz is to reproduce, and thereby implicitly condone, a contradictory society within which lyric verse and mass murder are coexistent. By extension, reading—as a pastime within the culture industry—appears to achieve nothing but the expression of such cultural reification. Reading is, as Adorno has written of criticism, "self-satisfied contemplation" in the face of systematized dissatisfaction ["Cultural Criticism" 34]. The Enlightenment had characterized reading as a process of educational reasoning, a dialogue with professional intellectuals about progress and truth. Although this idea carries a rather didactic undertone, as Michel de Certeau has pointed out ["Reading" 166-67], its representation of the book as a mobile repository of thought and criticism seems reasonable enough. Yet, in the face of such barbarism as Auschwitz, the practice of reading appears shamefully futile—a blindfolded refusal of historical truth, rather than an informed response to its implications.Reading is not alone in its unreasonableness: reason too has become unreasonable, Max Horkheimer has argued in Eclipse of Reason. Consequently, Horkheimer proposes that the "denunciation of what is currently called reason is the greatest service reason can render" [187]. Objective reason, Horkheimer suggests, has been eclipsed by its insipid, subjective counterpart, rationality. Rationality defines what is reasonable as what is useful; it does not seek truth as an end in itself. Reason has thus become merely a mental tool with which one can make effective plans in neocapitalist society. In short, rationality privileges means over ends. This subjective pastiche of reason, like poetry after Auschwitz, dumbly reiterates the status quo through devising ever more efficient procedures by which tasks may be carried out. It does not criticize the objective ends that are actually furthered by such procedures. Similarly, poetry (for example, that of James Fenton) invents ornate and affective representations of modern barbarism without removing the conditions within which barbarism thrives. In this regard, reading is [End Page 85] the negative counterpart of Adorno's "dialectical critic of culture," who "both participate[s] in culture and [does] not participate" ["Cultural Criticism" 33]: reading seems to be uncritical for the same reasons that a cultural commentator is critical.The valorization of procedure, of means over ends, is why the practice of reading seems complacently to ignore the demands of society and culture. Insofar as rationality considers reasonable only those procedures that have instant, efficient results, reading remains in essence unreasonable. Reading is not a procedure whereby certain tasks may be accomplished—whether ethical demands for political change, or capitalist invitations to unlimited consumerism. Put differently, although reading has consequences, there is no procedural connection between the practice of reading and its consequences. Consider the case of ethical demands: reading may certainly serve as a preparation or grounding for future political activity. However, such preparatory reading is inevitably superseded by the activity that it incites. It is not itself a procedure for political change, but simply part of the means to a political end. This situation is mirrored in the opposite case, that of capitalist enticement: reading interrupts bookselling. A consumer's reading time extends indeterminably beyond the moment of expenditure, unlike their usage of a product with a predetermined life span.Likewise, when I wrote in the opening paragraph that it "seems reasonable enough" that a book ought to be a repository of thought and criticism, I too have employed reason in merely a rational sense. I have defined the process of reading a book as reasonable only if... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Metamorphosis of Language in Apuleius: A Study of Allusion in the NovelGerald SandyEllen D. Finkelpearl. Metamorphosis of Language in Apuleius: A Study of Allusion in the Novel. Ann Arbor: University of Michigan Press, 1998. xii 1 241 pp. Cloth, $42.50.At first glance the use of the word “allusion” in the subtitle of this book suggests an old-fashioned approach to literary analysis. Finkelpearl has, however, given a lot of (...) thought to her choice of terms. She acknowledges the equivocalness of allusions but prefers to use this word for the process of incorporating material from earlier writers rather than “reference” or “intertextuality.” In spite of her somewhat informal description of the process of allusion (“recalling, modifying, transforming, and playing around with passages”), she has made a conscientious effort to circumvent the “fuzziness and inexactitude” of identifying allusions by making vigorous use of TLL and other traditional philological aids in order to isolate words, phrases, and lexical combinations that are unique to Apuleius and his putative sources. She has also deliberately avoided applying a single theoretical model, because “Apuleius draws on a wide variety of genres from different time periods,... use[s] his sources differently at different times [and]... often maintains an ambiguous stance—between rejection and incorporation, homage and polemic—even within single allusions” (24). This “ambiguous stance” is in fact central to the thesis that Finkelpearl consistently develops in her book: In the Metamorphoses, “allusion provides a medium [End Page 471] for exploration of the fit between the novel and the genres it contains and helps the novel toward a definition of its genre” (27). She emphasizes the ambiguity of her subject from the beginning to the end of her book, stating in chapter 1 that her aim is “to examine the multiplicity of interactions between the Apuleian text and its forebears, with a vigilant consciousness of the novel’s various uncertainties” (31) and concluding that she has focused on the tensions caused by situating “an uncertain genre” within a defined literary tradition.There is no uncertainty about the structure of the book. Each of the eight chapters begins with a survey of relevant scholarship and a declaration of Finkelpearl’s place within, or outside of, the range of summarized views. The sequence of chapters also unfolds logically. After surveying in chapter 1 (“Background and Method”) the various scholarly procedures that have been used to characterize allusions, she progresses from the seemingly most simple (parody) to the most complex practices of allusion. One of the strongest features of the book is that she manages to uncover complex patterns of allusion in passages that other scholars have been content to label parodies. Good examples of this resourcefulness occur in Finkelpearl’s examination of Apuleius’ use of Sallust, one of the canonical Latin archaic models during the second half of the second century. At 1.16.2–3 the “low-life character” Aristomenes makes an unsuccessful attempt to commit suicide by hanging himself with a rope attached to his bed. He addresses the bed in the words spoken by Adherbal over the corpse of his brother Hiempsal (BJ 14.22), substituting, however, grabattule for frater. Other scholars have commented on the obvious disparity between the dignified poignancy of the passage in Sallust and the low-life melodrama of the Apuleian revamping of it. Finkelpearl explains that “the choice of reference has relevance beyond its comic effect” (51), for Aristomenes’ words are “motivated by the questions posed... [by Adherbal] about life and death in the face of fratricide and injustice.” As she puts it, “Apuleius never merely defaces or satirizes; examination of his text reveals a complex thematic engagement with his sources.”In chapter 3 (“Reading Isolated Allusions”) Finkelpearl also manages to find overarching resonance in seemingly isolated pastiches. Others, including me, have perhaps been too quick to conclude that Lucius’ prolonged praise of the maidservant Fotis’ hair in book 2 of the novel is an empty piece of the type of rhetorical tour de force that characterizes the Second Sophistic. Finkelpearl argues, however, that hairstyle and other styles of appearance and dress can serve in the Augustan poets as emblems of literary doctrine and that Apuleius... (shrink)

The sting to Aristophanes’ ‘little tale’ inWasps(λογίδιον,Vesp.64) materializes from the comedy's interplay with theOresteia. This article argues that Aristophanes alludes to bothAgamemnonandEumenidesin the scenes running up to (and including) the trial scene, and that he exploits this intertext in the cloak scene (Vesp.1122–264). While isolated allusions to theOresteiahave been identified inWasps, a systematic consideration of these references has not been undertaken: a surprising absence in discussions of the ongoing competition between the comic and the tragic genres permeatingWasps’ dramatic action. Moreover, (...) Aristophanes’ engagement with theOresteiaoffers a special type of tragic intertext, in which the first and the last plays of a connected trilogy are referenced simultaneously, provocatively destabilizing the original. Furthermore, this allusion has implications for our understanding of a scene which recent scholarship has established as pivotal within the comedy, namely the cloak scene. The first part of this article, therefore, establishes the extent ofWasps’ engagement with theOresteiaand considers the significance of the ‘pastiche’ formed through the combined intertextual references toAgamemnonand toEumenides. The second part explores the impact of this intertext on the interpretation of the cloak scene, revealing that its use of costume can be understood as a criticism of Aeschylus’ dramaturgy, inviting a negative reading of Bdelycleon's ideological stance and reinforcing the play's pessimistic view of the Athenian law courts. (shrink)

Cet article examine l’influence sur la première hypothèse du Parménide de deux penseurs dont l’importance a été négligée par les critiques : Mélissos et Gorgias. Après avoir observé que les prédicats attribués à l’un ainsi que la forme démonstrative sont plus représentatifs de l’éléatisme de Mélissos que de celui de Parménide, nous expliquons ce constat par le fait que Platon reprenne une partie du Traité du Non-être de Gorgias qui vise elle-même essentiellement Mélissos. Nous démontrons alors que la première hypothèse, (...) et même l’ensemble de la seconde partie du Parménide, est un pastiche du Traité du Non-être, et nous en tirons des conclusions sur le statut de l’exercice dialectique mis en œuvre dans le Parménide. (shrink)

Obscurity is not the worst failing, and it is philistinism to pretend that it is. In a series of brilliant essays written over the last fifteen years Stanley Cavell has consistently argued that more important than the question whether obscurity could have been avoided is whether it affects our confidence in the author. Confidence raises the issue of intention, and I would have thought that the primary commitment of a psychoanalytic writer was to pass on, and (if he can) to (...) refine while passing on, a particular way of exploring the mind. Indeed this is how Lacan himself proposes that his work should be judged. “The aim of my teaching,” he writes, “has been and still is the training of analysts.” For decades now Lacan has been insisting that the nature of this commitment has been systematically obscured, particularly in North America. Training has become “routinized”, and analysis itself has become distorted into a process of crude social adaptation. There is much here to agree with. Yet two questions must be raised. Has Lacan devised a more effective method of training analysts? And, would one expect this from his writings? Neither question gets a favourable answer. All reports of his training methods, over which he has now brought about three distinct secessions within the French psychoanalytic movement, are horrifying. 13 It is now, I am told, possible to become a Lacanian analyst after a very few months of Lacanian analysis. And what pedagogic contribution could we expect from a form of prose that has two salient characteristics: it exhibits the application of theory to particular cases as quite arbitrary, and it forces the adherents it gains into pastiche. 14 Lacan's ideas and Lacan's style, yoked in an indissoluble union, represent an invasive tyranny. And it is by a hideous irony that this tyranny should find its recruits among groups that have nothing in common except the sense that they lack a theory worthy of their cause or calling: feminists, cinéastes , professors of literature. Lacan himself offers several justifications for his obscurity, about which he has no false modesty. At times he says that he is the voice, the messenger, the porte-parole , of the unconscious itself. Lacan's claim stirs in my mind the retort Freud made to a similar assult upon his credulity and by someone who had learned from Lacan. “It is not the unconscious mind I look out for in your paintings,” Freud said to Salvador Dali, “it is the conscious.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 1-13 [Access article in PDF] From Postmodernism to Postmodernity: The Local/Global Context Ihab Hassan I What Was Postmodernism? What was postmodernism, and what is it still? I believe it is a revenant, the return of the irrepressible; every time we are rid of it, its ghost rises back. Like a ghost, it eludes definition. Certainly, I know less about postmodernism today than I did (...) thirty years ago, when I began to write about it. This may be because postmodernism has changed, I have changed, the world has changed.But this is only to confirm Nietzsche's insight, that if an idea has a history, it is already an interpretation, subject to future revision. What escapes interpretation and reinterpretation is a Platonic Idea or an abstract analytical concept, like a circle or a triangle. Romanticism, modernism, postmodernism, however, like humanism or realism, will shift and slide continually with time, particularly in an age of ideological conflict and media hype.All this has not prevented postmodernism from haunting the discourse of architecture, the arts, the humanities, the social and sometimes even the physical sciences; haunting not only academic but also public speech in business, politics, the media, and entertainment industries; haunting the language of private life styles like postmodern cuisine--just add a dash of raspberry vinegar. Yet no consensus obtains on what postmodernism really means.The term, let alone the concept, may thus belong to what philosophers call an essentially contested category. That is, in plainer language, if you put in a room the main discussants of the concept--say Leslie Fiedler, Charles Jencks, Jean-François Lyotard, Bernard Smith, Rosalind Krauss, Fredric Jameson, Marjorie Perloff, Linda Hutcheon and, just to [End Page 1] add to the confusion, myself--locked the room and threw away the key, no consensus would emerge between the discussants after a week. But a thin trickle of blood might appear beneath the sill.Let us not despair: though we may be unable to define or exorcise the ghost of postmodernism, we can approach it, surprising it from various angles, perhaps teasing it into a partial light. In the process, we may discover a family of words congenial to postmodernism. Here are some current uses of the term: 1. Frank Gehry's Guggenheim Museum in Bilbao (Spain), Ashton Raggatt McDougall's Storey Hall in Melbourne (Australia), and Arata Isozaki's Tsukuba Center (Japan) are considered examples of postmodern architecture. They depart from the pure angular geometries of the Bauhaus, the minimal steel and glass boxes of Mies van der Rohe, mixing aesthetic and historical elements, flirting with fragments, fantasy, and even kitsch. 2. In a recent encyclical, titled "Fideset Ratio," Pope John Paul II actually used the word postmodernism to condemn extreme relativism in values and beliefs, acute irony and skepticism toward reason, and the denial of any possibility of truth, human or divine. 3. In cultural studies, a highly politicized field, the term postmodernism is often used in opposition to postcolonialism, the former deemed historically feckless, being unpolitical or, worse, not politically correct. 4. In Pop culture, postmodernism--or PoMo as Yuppies call it insouciantly--refers to a wide range of phenomena, from Andy Warhol to Madonna, from the colossal plaster Mona Lisa I saw advertising a pachinko parlor in Tokyo to the giant, cardboard figure of Michelangelo's David--pink dayglo glasses, canary shorts, a camera slung across bare, brawny shoulders--advertising KonTiki Travel in New Zealand. What do all these have in common? Well, fragments, hybridity, relativism, play, parody, pastiche, an ironic, anti-ideological stance, an ethos bordering on kitsch and camp. So, we have begun to build a family of words applying to postmodernism; we have begun to create a context, if not a definition, for it. More impatient or ambitious readers can consult Hans Bertens' The Idea of the Postmodern, the best and fairest [End Page 2] introduction I know to the topic. But now I must make my second move or feint to approach postmodernism from a different perspective. II Postmodernism/Posmodernity. I make this move by... (shrink)

Pulp Fiction is pulp and transcends pulp. As such, it is an authentic film. It is of its time, aware of the concrete reality of its historical context, teaming with cultural allusions. It is a self-conscious, postmodern pastiche, with a nonlinear narrative. But Pulp Fiction also transcends all of this. It celebrates morality, mercy, and forgiveness, and rewards authenticity of the deepest kind, requiring acknowledgment of our finite realities, our infinite nature, and God’s grace. Pulp Fiction is postmodern, but (...) it is also modern. By embodying this duality and challenging the viewer to engage with it themselves through the distinct attitudes of the main characters, Pulp Fiction is able to present an engaging, compelling, complex, and opinionated meditation on human life as a struggle for self-knowledge and authenticity. (shrink)

Based on the views of Hindus in Bali, the application of ornaments in the form of Balinese traditional symbols should follow the rules of the prevailing tradition.The symbols are created to show the cosmology and philosophy based on the teachings of Hinduism as indigenous in Bali and function as a means of a sacred ritual. But in reality the designers in Bali often exploit the symbols by “mutilating” and applying them to undue places, motivated by a desire to create a (...) product or environment characterized by Balinese ethnicity. For example, Acintya relief, Karang Bhoma, Garuda Wisnu and others are applied as façade decorations for shops and banks, or they are created in the form of a statue to decorate crossroads, or used for decoration of the human body in the form of a tattoo and so forth. Seen from a semiotic approach, these actions can damage the structure of the meaning of symbols, because they bring about the interruption of the established relations of the signifier and signified and they form symbol fragments with unclear relations to meaning. Similarly, in today’s designs stamped with such decoration, they appear awkward and meaningless. From such behaviour, that practice creates styles such as pastiche, parody, kitsch, camp and so forth. (shrink)

Christopher Marlowe’s Doctor Faustus, like Goethe’s Faust, begins in Faustus’ study. Faustus, renowned for his learning, is reading, going through the entire range of medieval disciplines — Aristotelian logic, Galenic medicine, Justinian law, Jerome’s Vulgate. His rapid deductions, after quoting to himself snatches from the concerned texts, read like a pastiche of the vanity of all human knowledge one encounters in De vanitate scientiarum by Cornelius Agrippa, a rumored alchemist and master of the occult.1 Faustus rejects logic as sterile, (...) and medicine and law as “mercenary,” unfit for the gentleman-scholar, who, according to the contemporary code,2 did not study or work for gain — these are.. (shrink)

Much of the early scholarship on Virgilian borrowings from Theocritus offered mere lists of parallel passages and, where criticism was attempted at all, the Eclogues often attracted such uncomplimentary labels as ‘cento’ or ‘pastiche’. In more recent scholarship the tendency to concentrate on insoluble problems and arithmetical correspondences lingers and, while some critical works of the sixties are characterized by a welcome upsurge in sensitivity, one occasionally suspects that Virgil has had attributed to him concepts which are two millennia (...) ahead of his time. To redress the balance, the following pages adhere to the text of Virgil and aim at being fairly conservative. Despite the volume of literature on the Eclogues, ample scope remains for differing interpretations, for the filling in of details and for a more methodical approach to the specific subject of borrowings from Theocritus. (shrink)