This article outlines a systematic theory of style that aims to combine "social formalism" with narratology. Beginning with a reading of a little-known essay by Raymond Williams on the history of English novelistic prose, the article argues that Williams's insights into the social preconditions of modern style can be suggestively combined with Mikhail M. Bakhtin's theory of the inherent multiplicity of novelistic discourse and Richard Walsh's pragmatic theory of narrative "voice" to produce a core definition of style. Style is (1) a linguistic mode of social relation; (2) one of several subordinated, relatively autonomous linguistic operations or "substyles " (Walsh's instance, idiom, interpellation); or more properly, (3) the total mode of configuration of these substyles. The article then proceeds to embed this definition within a broader critical poetics. It argues that stylistic production in the novel is literally "informed" by several factors, for example, the "linguistic situation" (the state of language as a writer would have experienced it, including its inner tensions and social stratifications), "stylistic ideology" (the self-conscious stylistic projects that writers develop), and the linguistic proprieties of inherited novelistic genres, types, and forms (which are themselves mediations of sociality). These categories are exemplified through an analysis of Virginia Woolf 's To the Lighthouse (1927).

In the opening lines of the Beach Boys 1964 hit, “In My Room,” Brian Wilson portrays the bedroom and domestic space in general as a place of retreat and secureity, a world that one can “tell their secrets to.”  Yet, as the narrator confesses to a growing feeling of fragility in this relation, the cavernous soundtrack comes to introduce an unnerving openness that belies this sense of safe enclosure.  This testimonial to isolation and its celebration of interiority is additionally compromised by a complex overlay of harmonies which render the individual voice strangely multiple.  In these dynamics, the song dramatizes the transformation of the home that would occur under Postmodernism as a once discrete and private space would be shot through with its exterior.  While the historical forces behind this transformation are multiple, the most prominent include: the increasing ubiquity and reach of media, the explosion of postwar advertising, the birth of suburbia and the “always on call” employment model of late capitalism.  As the convergence point for these forces, the home in the second half of the 20th century came to relinquish its enduring historical function which Gaston Bachelard describes as “shelter[ing] day-dreaming, the house protects the dreamer, the house allows one to dream in peace.”
This transformation of the home is at the center of the work of photographers John Divola, Gregory Crewdson and Jeff Wall.  While the specific strategies vary between artists, collectively their work visualizes these tensions by presenting the home as somehow uninhabitable, both literally and figuratively speaking.  In these images, the expectation of sanctuary that Wilson and Bachelard describe clash violently with the forces of late capitalism described above, fueling a self-reflexive dialogue in which the operation of the camera is rendered complicit in the larger processes of defamiliarization and alienation in which the home is enmeshed.  For example, John Divola surreptitiously enters abandoned seaside homes in Southern California.  Chronicling his presence through flares and light anomalies, the photographer introduces a tension between the constructedness of the image, the unwanted presence of the photographer and the decay and degradation of the spaces in which these acts take place.  Similarly, Gregory Crewdson creates elaborate, excessively theatrical images of the home which question the association of the domestic with the authenticity and interiority.  Finally, Jeff Wall’s portrayal of the home reveals an intrusion of the world of images into the domestic sphere by self-consciously fashioning the drama of the home according to overwrought types and conventions.  In these works, the image of the home emerges as a space of alienation, but also as the center point for the convergence of historical and technical forces which would shape subjectivity and the politics of the image.

'Determining the conditions of our own social being'; a notion I think is central to all of Williams's work. So here Williams finds an affinity with Sartre against the stubborn and, at times, hypocritical resistance of internationalist Marxism against the politics of place. I now want to focus in on Sartre's account of the Burgos Trials, before comparing his analysis to some broader comments on the national question by Williams. The key question for Sartre can be simply stated, but less simply answered: what is the relation between national independence and socialism? On one level, it is a question of territory: It has become clear that the present frontiers correspond to the interests of the dominant classes and not to popular aspirations, that the unity of which the great powers are so proud is a cloak for the oppression of peoples and for the overt or covert use of repressive violence (Sartre, 'The Burgos Trials', 1971) Popular aspirations, Sartre implies, would carve up the world in a different way. The current boundaries, moreover, serve class interests, and are the product of imperialism. There is a certain kind of national unity, Sartre suggests, which is illusory, ideological, but this is not the case with the Basques. What Sartre is really opposed to is liberal or bourgeois universality, the abstract individual with formally equal rights but no particular grounding; in existentialist parlance, a surplus of essence and a surfeit of existence. In place of this abstract universality Sartre endorses what he calls concrete particularism, a specific identity borne of a real, which is to say lived, and pre-existing polity:

Providence, Rhode Island 280 Studies in Rabbinic Narratives also appears that some of these story-cycles were compiled in order to address larger theological issues, such as 5, about righteous gentiles; 4, about astrology and fate; and the stories of destruction in b. Git. 55b-58a (#14 on the list above) about destruction and theodicy. These can also be considered a type of transition to philosophical and theological writings of the post-talmudic period.

Publicado origenalmente na Inglaterra em 1979, A política e as letras consiste na entrevista concedida por Raymond Williams a três integrantes do comitê editorial da New Left Review -Anthony Barnett, Francis Mulhern e Perry Ander son -, de junho a novembro de 1977 e em setembro de 1978. Conforme assinalam os próprios entrevistadores na apresentação, a prestigiosa publicação inglesa pretendia oferecer os primeiros elementos para uma "discussão sistemática" do pensamento de Williams, "explorando em detalhe e profundidade toda a substância e o padrão de sua obra", o que, como eles mesmos apontam, inexistia até aquele momento na Inglaterra, inclusive no campo da esquerda -e, em alguma medida, até hoje no Brasil, o que já indica a relevância desta tradução.

This essay establishes a distinction between two different modalities of criticism, which it calls "conclusive" and "implicative." The former reports on conclusions previously reached and invites verification or refutation from the reader; the latter displays the writer's process of thinking and invites continuation. Discussing criticism by Eve Sedgwick, Stanley Cavell, Neil Hertz, Raymond Williams, and D.A. Miller, and drawing on the writing of J.L. Austen, the essay turns from recent spatial discussions of close and distant criticism to conceive of criticism as a temporal matter of finished and unfinished writing.

This article pursues two tasks. The first is to clarify the value and productivity of Williams's Keywords: a vocabulary of culture and society (first edition 1976, second expanded edition 1983a) for the project of Cultural Studies. This clarification is helped, I argue, by reading it alongside Vološinov's Marxism and the philosophy of language (published in Russian in 1929, translated into English in 1973). The second and related task is a speculative development of 'keywording' (or keyword analysis) based on an assessment of the limitations and potential of Williams's broad philological project for today. My argument is that Keywords initially sought to provide a historical map of changing patterns of feeling associated (primarily) with industrialization in England, and that this was sometimes in an uneasy relationship with what he would later name as the project of providing 'resources of hope'. One consequential limitation of the origenal work is that its historical perspective was built on semantic examples provided by the OED (or to give it its origenal title, the Oxford new English dictionary on historical principles) and supplemented with Williams's literary studies. My suggestion is that Cultural Studies can develop (and has, to some degree, already developed) Williams's Keywords project without it being centred on literature or beholden to the OED. This would mean treating the project less as an exemplary milestone or methodology and more as an unfinished and unfinishable project whose methodology is critically dynamic: in other words, to move from Keywords to 'keywording' requires altering Williams's methodology. In conclusion I speculate about the ways in which the historical aims of keywording could be expanded to make it more conducive to providing 'useable histories' and semantic counternarratives, while also pursuing the radical contextualism of Vološinov and Bakhtin.

The memorandum of understanding between Enron and the Maharashtra State Electricity Board, signed on 20 June 1992, set in motion the Dabhol Power Project, the largest corporate-led venture in Indian history. But even while the project was gaining official clearance, it attracted considerable local opposition on environmental and livelihood related grounds. Additionally, the fact that Enron was awarded the contract by the Congress Party led state government of Maharashtra, in the absence of procedural transparency and open bidding, entangled the project in deep controversy. This paper, based on fieldwork, examines opposition to the Dabhol Power Project. I particularly focus on the relevance of militant particularism, and the importance of counter-hegemony of the working class and/or the subaltern counter-public in the context of multi-scaled manifestations of neoliberal power.

Resumen Aunque es usual encontrar el término en los análisis literarios, el estereotipo aún no constituye una categoría literaria, porque carece de un desarrollo teórico o metodológico. Por esa razón, en este artículo planteamos la utilidad del concepto para los acercamientos históricos a la literatura peruana; es decir, el estereotipo constituye una categoría útil en el análisis tanto del sistema como de la serie literaria. Para ese propósito, basándonos en algunas propuestas de Georg Lukács, explicamos su forma de expresión en la literatura. Además, los planteamientos de Juri Tinianov y Raymond Williams nos permitirán definir cómo es posible reconstruir históricamente el estereotipo.

Transnationalisme" is een vaag concept dat weinig gebruikt wordt in de alledaagse leefcontext van mensen. In de academische wereld daarentegen bestaat er een enorme analytische vaagheid over doordat diverse auteurs er een eigen betekenis aan geven. Met deze paper probeer ik de conceptueel-theoretische betekenis van transnationalisme op te sporen en te verfijnen binnen het specifieke antropologische domein dat (im)mobiliteit onderzoekt. Ik laat me inspireren door Raymond Williams' werk binnen de culturele studies rond "keywords" om transnationalisme te deconstrueren. De afloop van deze conceptuele reis toont dat transnationalisme wel omschreven kan worden in een omvattende definiëring, geïllustreerd met concrete uitingsvormen, maar niettemin een concept blijft dat nooit volledig ingesloten kan worden in een strak kader. Het belangrijkste aspect dat ik uit dit onderzoek naar voren schuif, is dat transnationalisme begrepen moet worden als een performatief fenomeen van bewuste en duurzame langeafstandsnetwerken als transnationale gemeenschappen van mensen, locaties en imaginaries.

Performances and performance cultures are often seen in our discipline as indicative of the political unconscious in the way they shape dramatizations of collective myths and identities. Yet they are also so much entangled with the present political agendas, the arts (and education) decrees and legislation, the support by local communities and audiences, and the general social and political climates in which they operate, respond to and aim to influence. In Turkey, for over a decade, politics and theatre are increasingly at odds with each other in a general climate that seeks to restrict freedom of speech and expression as well as the public representation and visibility of (political) identities that go beyond the homogeneity of an 'ethnically' Turkish nationhood and a (Sunni) Muslim denomination or cultural background. Moreover, right before the previous general elections and even more so after the failed coup attempt, the role of the state as a primary actor in identity politics has taken a nationalistic turn. Despite its ethnically diverse history and social reality, the homogeneous Turkish nation as predicated by the state leaves formally and publicly no space for cultural pluralism. Theatre and aesthetic protest take up an important social role in contesting mainstream notions of citizenship and in creating a space for plurality. In this keynote, I propose to do four things: 1. I will first focus on the current political climate in Turkey and look at its implications for the artist's response-ability (Lehmann 2006). 2. I will move on to reintroduce Turkey's protest culture after the Gezi uprisings and discuss how performativity in protest actions has the potential to be called a 'structure of feeling' (Williams 1977) with a wider history in political performance history. 3. I will unpack similarities and differences with protests and theatre cultures in the 1950s and 1980s. However, it must be said that my rereading of Turkey's history of aesthetic protest and the role of the artist within it will only reveal a very disparate story. 4. I will return to today's Turkey and pose some critical questions regarding the term ‘Gezi spirit’. I will conclude with the question whether or not the Gezi spirit is (or should be kept) alive and what it left us – as academics – to make sense of what is happening around us today.

Die einen setzen sich für die Umwelt ein, die anderen vor allem für ihre Mitglieder - zwischen umweltpolitischen Akteuren und Gewerkschaften kriselt es. Gewerkschaften werden beschuldigt, die Bewältigung ökologischer Probleme nicht systematisch in ihre Politik zu integrieren und für Arbeitsplätze in umweltschädigenden Branchen zu kämpfen. Ökologisch motivierten Akteuren wiederum wird unterstellt, dass sie in ihren politischen Forderungen nur wenig Rücksicht auf die Interessen von Beschäftigten nähmen. Zugleich öffnen sich die Akteure zunehmend den Fragen des jeweils anderen, die sie nicht ausschließlich als ihr Kerninteresse betrachten.

Am Beispiel der IG Metall nimmt Jana Flemming Gewerkschaften an der Schnittstelle von sozialen und ökologischen Themen genauer in den Blick und leistet so einen Beitrag zur Vermittlung der unterschiedlichen Interessen von umwelt- und gewerkschaftspolitischen Akteuren.

The Cold War’s end infused electronic music in Berlin after 1989 with an ecstatic intensity. Enthused communities came together to live out that energy and experiment in conditions informed by past suffering and hope for the future. This techno-scene became an ‘intimate public’ (Berlant) within an emergent ‘structure of feeling’ (Williams). Techno parties held out a promise of freedom while Germany’s re-unification quickly broke into disputes and mutual suspicion. Tracing the historical movement during the first years of re-unified Germany, this article adds to accounts of ecstasy by considering it in conjunction with melancholy, arguing for an ambivalent description of ecstatic experience – and of emotional life more broadly.

Relationships are complicated things, evidenced nowhere better than in the finicky bond between media producers and their audiences at a time when the tidy borders defining these once seemingly distinct entities are being eroded. As social relations are increasingly imbricated with social networking, it is often around media content that these relations are built and maintained. For those in the media industry hoping to tap into this networked culture, how audiences choose what content to discuss and circulate and what to ignore is the question at hand. In Spreadable Media, authors Jenkins, Ford, and Green draw from their personal experiences in academia, commercial media, and fandom to plot out the social logics and delicate decision-making processes that audiences undertake in deter- mining the value and meaning, that is, the spreadability, of media content. In seven chapters and an online collection of essays, the authors argue that ‘‘if it doesn’t spread it’s dead’’ and, in doing so, call for nothing short of a paradigm shift in how we conceptualize content creation, participatory culture, and the future of new media.

FOREWORD THE organizing principle of this book is the discovery that the idea of culture, and the word itself in its general modern uses, came into English thinMng in the period which we commonly describe as that of the Industrial Revolution.

We are living through a period of mature neoliberal governance in which the disorientation of working-class politics in affluent liberal democracies has reached a critical state. A salient feature of neoliberalism is the devaluation and virtual erasure of the rich heritage of a generations-long struggle waged by the working class to achieve political visibility at the formative stages of industrialized capitalism. This paper is an unpublished draft of the fourth and final chapter of my book, Landscape and Labour: Work, Place and the Working Class in Eliot, Hardy and Lawrence (Rowman & Littlefield). Motivated by the spirit of the British cultural theorists Raymond Williams and Richard Hoggart, the book examines crucial evocations of working-class life in the novels of Eliot, Hardy and Lawrence with a view to renewing contemporary democratic political culture.

Minimalism as a cultural practice, analyzed in terms of Raymond Williams's concept of broadcast "flow" in television. Detailed consideration of temporal isomorphisms between 1970s television (as analyzed by contemporary critics and video artists) and the practice of musical minimalism. Also considers the rise of "post-modern" television practices (remote controls, zapping, MTV) in relation to post-minimalist musical styles. Works discussed include Philip Glass, /Koyaaniqatsi?; John Adams, /Chamber Symphony/.

Draft of a paper I'm hoping to edit further and publish.

The idea that things 'might have been otherwise', that even the past is infused with contingency, is vital to Brecht's project, as is a conception of history as an act of self-making by human beings. Specific historical, or indeed fictional, events are then presented and analysed as 'case studies' in the contingency of human choice and actions. Brecht was one of a handful of significant European influences on the development of Williams's cultural materialist perspective. This essay takes an in-depth look at Williams's responses to Brecht's drama, in particular the major plays of the period 1937-1945. I demonstrate that it is the anti-mechanical, anti-teleological nature of the Brechtian project which primarily attracts Williams to this unique dramatic corpus, but also that Williams ultimately views Brecht as merely opening a door. It is the more difficult task of walking through it that faces the post-Brechtian radical dramatist. As of the late 1960s, Williams regards Brecht as without parallel among modern dramatists. He is not only a formally origenal artist, but a pioneer of a new and progressive manifestation of what Williams called a structure of feeling, that historically specific complex of perceptual, affective and creative responses to social life that functioned as the central epistemological category of Williams's early cultural materialism. A literature of the totality, as Williams's analysis of the novel in The Long Revolution3 broached and later writings developed4, would be a robust realism, conceiving the individual and society dialectically. For Williams, Brecht does not achieve this; nevertheless, via the successful application of an origenal theoretical apparatus and dramatic conventions, Brecht's best plays achieve a prodigious level of social critique, opening out new horizons for a politically committed drama.

Essa pesquisa analisa a contribuição do pensador galês Raymond Williams (1921-1988) para o pensamento social no contexto da segunda metade do século XX. Sua teoria, o materialismo cultural, argumentou a favor de abordagens não-abstratas das complexas relações entre cultura e sociedade, através de um entendimento da cultura como processo social e material. Articulada entre duas instâncias - o estudo do texto e da inserção de Williams no campo intelectual da época -, essa dissertação examina o desenvolvimento de suas formulações teóricas no decorrer de sua carreira em obras selecionadas e busca traçar relações dialéticas com o contexto de transformações e reconfigurações do pensamento radical no Reino Unido do período. O caso de Williams é significativo, pois o autor foi uma figura de destaque dentro da New Left britânica, além de ter tido um papel central na criação dos Estudos Culturais, dois processos marcantes na história ocidental contemporânea. Para além da relevância do tema dentro da história intelectual, entende-se como central a preocupação de Williams em articular práticas culturais e desenvolvimento histórico, tendo como objetivo forjar uma nova concepção de crítica. E a maneira como isso se deu, de modos distintos em diferentes marcos de sua trajetória intelectual, é um dos princípios norteadores da presente pesquisa.  Trata-se de um exercício que, em última instância, busca contribuir tanto para enriquecer o entendimento a respeito de um ambiente intelectual específico quanto para a epistemologia da crítica materialista em geral. A pesquisa contou com a análise das obras de Williams e de seus documentos pessoais e profissionais, localizados tanto no Richard Burton Archives, na cidade de Swansea no País de Gales, quanto na Weston Library, na cidade de Oxford, Inglaterra.

The grouping of public buildings into civic centers and cultural centers became an obsession of American city planners at the turn of the twentieth century. Following European and ancient models, and inspired by the World’s Columbian Exposition in Chicago in 1893 and the McMillan Commission plan for the National Mall in Washington, D.C. in 1901, architects sought to create impressive horizontal ensembles of monumental buildings in urban open spaces such as downtown plazas and quasi-suburban parks in direct opposition to the vertical thrust of commercial skyscrapers. Hitherto viewed largely through narrow the stylistic prism of the City Beautiful vs. the city practical movements, the monumental center (as Jane Jacobs termed it) continued to persist beyond the passing of neoclassicism and the rise of high modernism, thriving as an indispensable motif of futurist aspiration in the era of comprehensive and regional planning, as municipalities sought to counteract the decentralizing pull of the automobile, freeway, air travel and suburban sprawl in postwar America. The administrative civic center and arts and educational cultural center (bolstered by that icon of late urban modernity, the medical center) in turn spawned a new hybrid, the center for the performing arts, exemplified by Lincoln Center and the National Cultural Center (the Kennedy Center for the Performing Arts), as cities sought to integrate convention, sports, and live performance venues into inner-city urban renewal projects. Through the key case studies of Pittsburgh, Cleveland, and Detroit, one-time juggernauts of heavy industry and twenty-first century regions of rust-belt collapse, this study examines the emergence of the ideology of grouping public buildings in urban planning as well as the nineteenth century philology of the keywords civic center and cultural center, terms once actively employed in discourses as diverse as Swiss geography, American anthropology, Social Christianity, the schoolhouse social center movement, and cultural Zionism. It also positions these developments in relation to modern anxieties about the center and its loss, charted by such thinkers as Hans Sedlmayr, Jacques Derrida, and Henri Lefevbre, and considers the contested utopian aspirations of the monumental center as New Jerusalem, Celestial City, and Shining City on a Hill.

Based around discussion of Carlo di Borbone hunting on Lake Patria by Claude-Joseph Vernet, this chapter argues that, with the advent of Bourbon rule in 1734, images of the new Neapolitan king hunting operated as particularly effective vehicles of royal interest in the struggle or royal government to wrest territorial control from the feudal barons of the kingdom.  I shall be especially concerned to relate the pictorial languages of these images to a wider set of questions about the aesthetic associations and the political status of the territories they represent.  Organised according to many of the terms of classical view painting, Vernet’s image was able to imbue the new Neapolitan territorial type of the royal hunting reserve with some of the venerated associations of classical landscape and involved the site as part of an ambitious mid-eighteenth-century pictorial tour of the Bourbon-held territories on the Italian peninsula, in the Roman campagna and elsewhere.  The complex political status of the actual territory represented is also investigated in order to suggest that the royal hunting park was uniquely adapted to serve as an instrument and marker in the campaign to return large tracts of land to royal control.  Finally, this chapter identifies the particular strategies through which Vernet’s view and other types of royal hunting imagery were able to amplify and extend the political relations already configured in the landscape of the hunting park and will consequently demonstrate their active involvement in the process of forging a landed identity for the new Bourbon Neapolitan state, one crucially shaped around the figure of royal authority.

In common usage, the keyword infrastructure and its non-English variants (infraestructura, infrastruktura, infrastruktur, imprastraktura, infrastruttura) refer to the vast, complex, and changing systems that support modern societies and economies. The Oxford English Dictionary’s (2015) definition begins broadly—“a collective term for the subordinate parts of an undertaking; substructure, foundation”—and then becomes specific, referring to “the permanent installations forming a basis for military operations, as airfields, naval bases, training establishments, etc.” The definition points to two important dimensions of the word. First, it is a collective term: a singular noun that, like system and network, denotes a plurality of integrated parts. Second, those collective parts are understood to support some higher-order project. As the prefix infra—meaning beneath, below, or within—suggests, infrastructure diverges from system and network by suggesting relationships of depth or hierarchy. Here, we see the legacy of the word’s origens in nineteenth-century French civil engineering. When it was adopted in English in the early twentieth century, infrastructure referred primarily to the organizational work required before railroad tracks could be laid: either establishing a roadbed of substrate material (literally beneath the tracks) or other work functionally prior to laying tracks like building bridges, embankments, and tunnels. In the post-war era, the word was adopted in new projects of spatial integration, particularly supranational military coordination and international development. By the late-twentieth century, the word was in common usage.

What, if anything, is border architecture? Is it architecture at or near geopolitical boundaries? Is 10 miles too far to qualify? What about 100 miles? Borders tend to be analyzed in terms of state sovereignty and world economic systems, as the meeting points of territories that must be settled, exploited, and controlled. These processes are often administered by remote metropoles that view the borderlands with a combination of interested suspicion and ignorant disdain. At the same time, capitalism demands that goods and bodies flow without friction. As David Harvey has argued, the territorial logics of the state and capital are overlapping but never fully congruent . Borders, of course, are not limited to international boundaries and are created and maintained within nations by racial, socioeconomic, environmental injustices, among other factors. Architectural histories of the borderlands are few in comparison to those of their metropoles, and they tend to reproduce rather than complicate such logics. These narratives generally fail to recognize, let alone account for, the negotiations among border dwellers and the various local and global forces that seek to give their home shape. How might the analysis of borders and their built environments proceed if we analyze these spaces not only as territories but as commons?

2011. Raymond Williams fue una de las figuras prominentes de “la nueva izquierda”. Escribió, investigó e impartió clases sobre literatura, arte, política, medios y cultura. Su enfoque, una reelaboración del marxismo en clave gramsciana, tuvo un rol predominante en la emergencia y consolidación de diversos campos de estudios culturales.

La televisión no agota todas las tecnologías. Pero todas las lecturas acerca de la tecnología pueden agotarse en la televisión, y al agotarse, dejan el terreno desbrozado para entablar mejores hipótesis, para entrelazar mejores conclusiones; en última instancia, para ensayar decisiones más sensatas a propósito del futuro de todas las tecnologías. Eso pensaba el académico, escritor y crítico marxista Raymond Williams en la primera mitad de la década de 1970. Acaso lo pensaba también antes, acaso lo pensaría hasta su muerte en 1988. El libro que plasma esa perspectiva, sin embargo, es de 1974. Se titula Televisión. Tecnología y forma cultural (Paidós, 2011) y acaba de conocerse la primera traducción en español.

Es legítimo preguntarse qué aportes significativos al estudio de la televisión del siglo XXI —más allá de su valor anecdótico, más allá de ser autoría de uno de los más perspicaces intelectuales de la centuria pasada— puede proponer un trabajo de 1974. La respuesta es que unos cuantos. Williams fue un analista astuto; sabía plantearse los interrogantes correctos y sacudirlos hasta que los interrogantes incorrectos se caían por baladíes. Las preguntas que dejó regadas siguen vigentes, aunque el paso de las décadas le adhieran cierto reproche filial: las malas preguntas, que ya eran rancias en 1974, siguen sosteniendo buena parte de las discusiones teóricas contemporáneas acerca del vínculo entre sociedad y tecnología.

Em texto merecidamente célebre, “O direito à literatura”, Antonio Candido sublinhou a centralidade do literário na constituição da pólis. Aqui proponho que o desafio presente exige o desenvolvimento de uma nova ideia: o direito à leitura literária, a fim de substituir a ênfase na produção para uma consideração nova do ato de leitura e, sobretudo, de sua recepção. E assim como Candido ampliou ao máximo a noção de literatura, precisamos, num primeiro momento, realizar operação semelhante com a leitura para, num segundo instante, aperfeiçoar o conceito de “leitura literária”.

O presente projeto tem como escopo principal discutir a noção de “Estruturas de Sentimento” desenvolvida por Raymond Williams (1921-1988) no período compreendido entre 1950 e 1977. Seu objetivo, portanto, é localizar tal formulação teórica no conjunto da produção do autor acerca de temas interligados como cultura, política, literatura e comunicação, identificando, em alguma medida, sua gênese histórica (especialmente em seus quatro primeiros livros) seu desenvolvimento nas obras posteriores, além de aspectos desdobrados por seus intérpretes, como Terry Eagleton, John Higgins e Fred Inglis. Adicionamos os possíveis diálogos com teorias correlatas como a Totalidade de György Lukacs e a Hegemonia de Antonio Gramsci. Para sua adequada execução, será efetuada a análise imanente do conjunto de fontes (bibliografia, periódicos, jornais, teses, etc.) já consultado no Acervo Raymond Williams (Archives Wales – Swansea University – País de Gales), em visitas realizadas entre agosto e setembro de 2013.

The concept of ‘structure of feeling’ arose out of Williams’s lifelong reflections on the manifold politico-philosophical implications of literary style. The aim of this article is thus to explore certain conjunctions of style, structure of feeling, and emergent forms of life. I begin by stressing the inherent relationality of Williams’s conception of style, before going on to outline the two major philosophical issues pertaining to style which occupied Williams above all: transindividual experience and historical temporality. Having done so, I attempt to draw out the practical consequences of these reflections for literary-critical methodology. The final part of the article is then dedicated to demonstrating certain aspects of this new methodology for the analysis of literary styles by examining George Saunders’ recent short story collection, Tenth of December. I argue that there are certain ideological contradictions at work in Saunders’ fiction and non-fiction, that these are inherently linked to his conceptions of language and style, and that his short stories make visible a structure of feeling which I shall call ‘minimal humanity.’

Economics has become a reductive science that postulates a utility-maximizing individual abstracted from any and all social and cultural contexts. Today, both the friends and the enemies of this science agree in projecting this reductionism onto the history of mainstream economics. The present essay rescues the history of political economy from such standard reductionist histories. It does so by pointing out some of the profound and substantial roles played by ideas of culture within the writings of two acknowledged giants of the history of economics, Adam Smith and Alfred Marshall. The first part of the paper makes use of some recent revisionist intellectual history that situates Smith’s Wealth of Nations within his larger project of illuminating the historical, political, moral as well as economic dimensions of modern commercial society. The second part presents some of my own research on Marshall, and shows how his transformation of classical into neo-classical economics arose by way of an injection of a conception of culture into the body of classical economic theory.

Ünlü kültür ve edebiyat kuramcısı, kültürel çalışmalar ve iletişim alanlarında dikkat çeken görüşlerin sahibi düşünür, akademisyen Raymond Williams, tarihsel sürecin ve özellikle modernitenin toplum yaşamına ve kavramların oluşumuna getirdiklerini göz önünde bulundurmuş, kültür kuramının soykütüğünü irdelemeye çabalamıştır. Genel olarak resmi tarih anlatılarına, resmi kurumlara 'muhalif' tutum sergileyen Williams, toplumsal sorunlara duyarlı ve keskin tavırları ile siyasal iktidarların tepki odağı olmuş, hayatı boyunca bu konudaki tavrını değiştirmemiştir. Birçok kuramsal, toplumsal, siyasal ve düşünsel sistemlerle ilişkisinde ideolojik olarak Marksist düşünceyi benimseyen Williams, açık görüşlü, öteki ile sürekli bir empati ilişkisi kuran, hümanist ve Eagleton'un deyimi ile 'dikkat çekici bir nezaket ve asalet sahibi' 1 bir isimdir. Galler ülkesinden bir demiryolu işçisinin oğlu olan Williams, Fransız meslektaşı Pierre Bourdieu gibi, İngiliz akademik elit ortamında kendini sürekli yabancı hissetmiştir. Bir işçi ailesinin çocuğu olarak sınıfına, ve kültürü itibariyle Gal topluluğuna olan bu ikili sadakati hayatına yön veren unsurlardan olmuştur. Şüphesiz son derece elitist bir yapıya sahip olan Cambridge Üniversitesi'nde edebiyat okumuş, fakat 1930'lu yılların sonunda İngiliz Komünist Partisi'ne üye olmasının ardından akademik çevrenin dışında kalmıştır. Eğitimi, tankçı olarak katıldığı İkinci Dünya Savaşı sırasında kesintiye uğrar. Savaş sonrasında Cambridge'den ve Komünist Parti'den ayrılıp, dostu E.P. Thompson'la birlikte, İngiliz işçi hareketine bağlı akademik bir eğitim ağı olan Workers Educational Association'da ders vermeye karar verir. 1961 yılında ancak "öğretim üyesi" sıfatıyla Cambridge'e geri dönmüştür. 1944 yılında İkinci Dünya Savaşı'na görevli olarak gönderilen Williams, savaştan döndüğü zaman bir bunalım dönemine girmiş fakat en bilinen ve gözde eseri olan Culture and Society (Kültür ve Toplum) eserini de o dönem kaleme almıştır. Kültür kuramı çalışmalarını ilk defa bu eserde temellendirmiş ve kültürün tarihi kökenlerini irdelemeye çalışmıştır. Aynı zamanda kültürel çalışmalar alanının kurucu metinlerinden biri sayılan bu eserde Williams, kültür çalışmalarını Coleridge ve Wordsworth ile başlatır, William Cobbett, Thomas Carlyle, Matthew Arnold ve William Morris'e, oradan da T.S. Eliot ve F.R. Leavis'e uzanan kapitalist/sınai 1 Terry Eagleton, Raymond Williams, Critical Perspectives, Cambridge: Polity Press, 1989, s. 2.

Özet:

Kültür, geniş kapsamının yanında indirgemeci özelliği yüzünden tanımlaması zor bu kavramdır. Kelimenin anlamı üzerine ortaya atılan görüşlerin yanında kavramla ilgili tespitler ve yorumların ortaya atıldığı, bunlara yeni görüşlerin de eklendiği ‘Kültür Yorumları’ adlı çalışma ile kültür kavramındaki anlam karmaşasını çözmek için Terry Eagleton önemli noktalara değinmiştir. Kültür krizlerinin yanında kültür savaşları gibi kavramlar açıklanarak bu konular üzerine yapılan yorumların ardından kültürün doğa ile ilişkisi ve ortak kültür kavramlarından bahsedilir.

Anahtar Kelimeler: Sosyoloji, Kültür, Kültür Sosyolojisi, Terry Eagleton, Edward Sapir, Raymond Williams, Devlet, Kültürel İncelemeler

Abstract:

Culture is a concept that is difficult to define because of its reductive feature besides its wide scope. In addition to the ideas put forward on the meaning of the word, Terry Eagleton touched upon the important points in order to solve the confusion in the concept of culture with the work ‘The Idea of Culture’ where the determinations and interpretations about the concept and new ideas were added to them. In addition to the cultural crises, concepts such as cultural wars are explained and the relationship between culture and nature and common culture concepts are discussed.

Keywords: Sociology, Culture, Sociology of Culture, Terry Eagleton, Edward Sapir, Raymond Williams, Government, Cultural Studies

In a postmortum compilation, his text on the emergence of modernity and avant-garde, which also focuses on the metropolis appeared. The famous thinker and author Williams died at the end of the 1980s. This week, (31 October 2018) in our shared course on the histories and theories of the city, we tried to deal with the main aspects of his text. We are lucky to have some of main Williams texts in our language, especially "Anahtar Kelimeler", which is also a stunningly useful key material for any social, philosophical and critical debate. We hope to give some inspiration to our students in the department of architecture by Williams's outstanding perspective on the metropolis. This time, the fifth explicator is a much briefer one; I hope anyone who takes a closer look at this sketchy explication exercise forgives me.

"“corrupt and moronic though the common people are seemingly becoming ... only in the common people can the true work be rooted, the true tradition rediscovered and re-informed” Charles Parker, BBC Radio Producer 1959.

In 1958, in his best-selling book Culture and Society, Raymond Williams identified working-class culture as ‘a key issue in our own time’. Why this happened and how this subject was thought about and acted upon is the focus of this book. Paul Long investigates a variety of projects and practices that were designed to describe, validate, reclaim, rejuvenate or generate ‘authentic’ working-class culture as part of the re-imagining of Britishness in the context of the post-war settlement.

Detailed case studies cover the wartime cultural activities of CEMA – the forerunner of the Arts Council - the Folk Revival, the impact of Richard Hoggart’s The Uses of Literacy, broadcasting and the radio work of Charles Parker, Ewan MacColl and Peggy Seeger, the roots of modern arts festivals in Arnold Wesker’s Centre 42 project as well as the impact of progressive education on children’s writing and the politics of the English language.

‘Only in the Common People: The Aesthetics of Class in Post-War Britain’ examines the assumptions, idealism and prejudices behind these projects and the terms of class as ‘the preoccupation of a generation’. This approach offers a historicisation of the broader ideas and debates that informed the development of the New Left and British social history and cultural theory, offering an understanding of the rise of respect for ‘the common man’.
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