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Understanding Culture: Cultural Studies, Order, Ordering
No full textGavin Kendall and Gary Wickham.179 p. ; 24 cm
What Once Was Old Is New Again: Reviving An Early-Modern Form Of Interdisciplinarity For Socio-Legal Studies
Full text linkSocio-legal studies are an essentially interdisciplinary enterprise. However, there is currently only one form of interdisciplinarity that most socio-legal scholars (and criminologists) recognise and work with. This form is derived from the idea that 'society itself' - and by this most scholars mean ‘civil society’ - drives the law. However, another, rival understanding of society, which we term the authoritarian-liberal statist understanding that slipped from view in the late seventeenth century and remained obscure from then until now, may be used to generate another form of interdisciplinarity for socio-legal studies (and for criminology). However, this rival understanding of society does not simply allow us to reconfigure our notion of ‘society’; it radically changes the role society plays in relation to the law. Two crucial points emerge from this rival account: first, society can no longer be understood as separable from (even though interacting with) the law; and second, society can no longer be understood as driving the law
Problems with the Critical Posture? Foucault and Critical Discourse Analysis
No full textThis paper provides a brief analysis of Michel Foucault’s work on power and governmentality, and mounts the argument that the treatment of these concepts by Foucault is theoretical rather than empirical or historical. Foucault’s approach – a Kantian dialectical approach – allows the social to engulf politics, sovereignty and the state. Ultimately, Foucault follows a Kantian line to a moral critique of society. Given this critical edge to Foucault's work, it is not surprising that endeavours such as critical discourse analysis use Foucault's work to ballast their approach. Like Bruno Latour, however, we suspect that the fascination with social and moral critique is exhausted; and we suspect that the commitment to critique masks the understanding of the critic as an historically specific persona, and disallows – on moral grounds – non-teleological descriptive analyses. Rather than critique critique, however – and risk being hoist by our own petard – our purpose here is an exploration of those who adopt the critical persona
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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