Suchergebnisse

Cover -- Half Title -- Title -- Copyright -- Original Title -- Original Copyright -- Contents -- Acknowledgements -- Preface -- 1. Beginnings: On the Left -- 2. Structuralism/Post-structuralism -- 3. Film Theory -- 4. Cultural Studies -- 5. The Social Sciences -- 6. Historical Studies -- 7. Psychology -- 8. Art History -- 9. Musicology -- 10. Philosophy -- 11. Literary Theory -- 12. Deconstruction -- 13. Post-structuralism and the English Tradition -- Appendix I Textual Practice: One Example -- Appendix II A Note on Institutions -- Appendix III An Interview with Jacques Derrida -- Bibliography -- Index.

During the twentieth century, the medium of film has developed as a means of understanding the complexity of modern life. Since 1968, film theory has concentrated not so much on theme or content but on the deeper question of how the medium works on its viewer. Film theory has been profoundly influenced by the writings of such modern thinkers as Saussure, Freud, Lacan, Anthusser, Derrida and Kristeva. It combines modes of textual analysis relating to linguistics and semiology, a Marxist reading of ideology, and theories of subjectivity, the spectator and gender redefined by psychoanalysis.>

The book describes the English school, especially the secondary school, as a hierarchical community in which the head-teacher (principal) is an autocratic ruler. After explaining how that particular organisation of the school developed historically from the market situation faced by the English public (i.e. private) schools in the developing industrial society of the nineteenth century it provides empirical evidence demonstrating that the hierarchies of knowledge, teachers and students that developed then were still in place when the book was published in 1975. They are still present today. It

AbstractThis is an account of ethnographic research examining the specialist scientific processes known as 'Disaster Victim Identification' (DVI) in three settings: Québec, the United States, and the United Kingdom. In cases of multiple deaths, a series of actions accompanied by a plethora of tools are often invoked, housed at a disaster scene, forensic laboratories, a family assistance centre, and a mortuary. In this article, I examine a process dedicated to connecting the biological remains of the deceased with a confirmed validation of personhood. I describe a situation where responders/scientists will attempt multiple testing and re‐testing of human remains, often pushing boundaries of available science. I argue that the search for certainty in identification lies at the heart of the activation of DVI processes, particularly when it is connected to DNA testing. Observing intimate forensic settings and the bricolage of the forensic anthropologist's labour has allowed me to track the production of the science of identity. I then reflect on the wider implications of these observations for affected communities and the responding scientists. Finally, I argue that there is complexity and ambivalence surrounding the increased use of technologies when applied to identification of victims.

Under the radar, overlooked by guidebooks, neglected by city governments, ignored by mainstream arts institutions, and perhaps in a garage or living room in your neighborhood, is a secret world of community and music. The acronym DIY (Do It Yourself) describes and defines spaces that offer an artistic home to creative outsiders: artists and audiences marginalized by age, race, class, gender preference, or any number of markers of unconventionality. Often found in under-utilized commercial or industrial buildings in less-desirable neighborhoods, viewed as degenerate or even dangerous, these spaces are nevertheless vital incubators in the cultural life in Seattle, the Bay Area, New York, and cities worldwide. This paper offers an ethnography of a vital organism of cultural infrastructure that is often overlooked.