Social Text recent issues

Introduction: Breaking Sound Barriers

Stadler, G. — Tue, 02 Mar 2010 13:22:43 PST

The introduction to "The Politics of Recorded Sound," this special issue of Social Text, lays out the unifying mission of the diverse essays: to study sound recording within a wide-ranging, historicized understanding of mediation as a process embedded within networks of power. A significant objective is to bring attention to the ways modalities of social difference, such as race, gender, class, and ability, structure the practices of making and listening to recordings as well as the manners in which we think about those practices. Another purpose is to implode the ultimately ahistorical narrative of sound-recording technology as driven by ever-improving "fidelity" in the reproduction of music. The introduction also explores the diverse ways in which sound recording plays a part in contemporary life and argues that each of these is centrally shaped by politics of corporeality, economics, or culture.

Sound, Knowledge, and the "Immanence of Human Failure": Rethinking Musical Mechanization through the Phonograph, the Player-Piano, and the Piano

Suisman, D. — Tue, 02 Mar 2010 13:22:43 PST

This article reframes the history of recorded sound to take phonographs and player-pianos into account on more or less equal terms. It argues that the two technologies developed in complementary, dialectical relation to each other: one analog, storing and conveying an acoustic event (i.e., sound-in-time); the other, digital, storing and conveying in binary form information for (re)producing sound (i.e., sound-in-knowledge). Analyzing the production of sound along the same lines as Harry Braverman's analysis of manufacturing and automation, the article treats the phonograph and the player-piano as aspects of musical mechanization, which had expanded dramatically through the piano in the eighteenth and nineteenth centuries. Both the phonograph and player-piano technologies reverberated in the formation of modern society, the phonograph exemplifying the phenomenological rupture of time and space, the player-piano embodying the epistemological shift marked by machines storing and executing growing amounts of human knowledge, from automated industrial manufacturing to computers. The final section of the article considers the malign and utopian symbolism of the player-piano in the work of William Gaddis and Conlon Nancarrow, among other other writers and composers.

Deaf Jam: From Inscription to Reproduction to Information

Mills, M. — Tue, 02 Mar 2010 13:22:44 PST

This article traces the history of speech wave visualization and the longstanding relationship between phonetics, communication engineering, and deaf oral education. American telephone engineers drew on this history to build the sound spectrograph in the 1940s, a machine that transformed the representation of sounds by considering speech not in terms of meaning nor in terms of airborne waveforms but in terms of the characteristics of its perception and the minimum features by which it could be reconstructed. The sound spectrograph was designed to make telephone transmission more efficient and to support deaf oral communication; the ability of deaf subjects to read spectrograms was, moreover, the best evidence for the identification of information-bearing features in a complex speech wave. The sound spectrograph directly influenced information theory, which gave mathematical instructions for the efficient digital encoding of audio and visual signals. Spectrograms suggested that much of the content of speech was redundant or irrelevant and could be discarded without a listener perceiving any difference. It will be argued that deafness ultimately served as an "assistive pretext" for nineteenth-century phoneticians and twentieth-century engineers, who quickly turned to more profitable applications for their devices.

Splicing the Sonic Color-Line: Tony Schwartz Remixes Postwar Nueva York

Stoever-Ackerman, J. — Tue, 02 Mar 2010 13:22:44 PST

This essay examines the sonic archive of tape recording artist Tony Schwartz, in particular his 1955 Folkways album Nueva York: A Tape Documentary of Puerto Rican New Yorkers. Working from assumptions located in sound studies, I argue that Schwartz's recordings are essential listening for two reasons. One, Schwartz's meticulous attention to what he called the "sounds of [his] times"—and, I would add, of his place—helps scholars reconstruct the 1950s from a new vantage point: the ear. Two, Schwartz understood something that sound studies scholars are only beginning to tease out. Sound is not merely a scientific phenomenon—vibrations passing through matter at particular frequencies—it is also a set of social relations. "Splicing the Sonic Color-Line" begins by theorizing the mutually constitutive relationship I find between sound, listening, and race as the "sonic color-line." Next, original archival material is used to reconstruct the historical soundscape of Tony Schwartz's street recordings and reveal the sonic color-line as the aggregated racialized constraints and protocols regarding sound that Nueva York is both embedded in and struggles against. Finally, I trace the way in which Schwartz's "sono-montage" in Nueva York splices the sonic color-line, translating mainstream representations of the so-called homogenous noise of Puerto Rican life into textured, meaningful sound to assimilated (white) Americans. Nueva York is symptomatic of the ways in which listening experiences reflect and generate ideas about racial difference and its historical connection to American citizenship.

Never Heard Such a Thing: Lynching and Phonographic Modernity

Stadler, G. — Tue, 02 Mar 2010 13:22:44 PST

This essay examines 1890s commercial audio recordings—none of which is known to exist today—that reenacted lynchings of African Americans,in particular, the mass spectacle lynching of Henry Smith of Paris, Texas, in 1893. Despite rumors that the recordings were made live, they were in fact examples of an early, nonmusical genre in commercial phonography known as the "descriptive specialty," which often involved studio reenactments of current events. Like other descriptive specialties, these recordings were meant to exhibit the phonographic medium to capture audience attention. Using descriptions of the recordings from period documents, the essay argues that there was a specific confluence between lynching reenactments and the notion of a "phonographic voice," between sounds elicited from persons on the edge of "the human" and the sound imagined to come from the machine itself. It places the recordings in the context of contemporary representations of blackness in phonography and ponders their place in the longer history of recorded sounds of blackness. It also argues against the fixation on disembodiment among some media historians and theorists who work on phonography and contemporaneous technologies.

Can You Feel the Beat?: Freestyle's Systems of Living, Loving, and Recording

Vazquez, A. T. — Tue, 02 Mar 2010 13:22:44 PST

Freestyle is both a musical genre and, as a multitude of fanzines will tell you, a lifestyle. The playwright Jorge Ignacio Cortiñas evoked our teenage surround when he called it a "system of living." Described as "android descarga" by music critic Peter Shapiro and "a soap opera set to music" by the vocalist Judy Torres, there is general agreement that freestyle is constituted by a nebulous Latin feel that is spoken about but not necessarily accounted for. This essay enters the scene of freestyle with the assumption that it is both tinge and fringe—and by that I mean both marginal part and decorative border. To do so means to surrender the accolade of theorist for stylist, to harbor the hard work of listening from scholarly convention. To try and tell freestyle's story is to say a great deal about a moment when large numbers of young women found themselves on the inside of recording studios. The story bears its own annals of the uncredited, adding volumes of names to those who have lent their uncompensated talents to the advent of studio-based recording. With a focus on freestyle's women vocalists from the late 1980s to the early 1990s, this essay picks up on a legacy of techniques developed to navigate the procedures of recording, including but not limited to those that go down in studios. The essay also suggests how freestyle's audiences have taken up such techniques from the back then and have extended them into the beats thereafter.

Buzz and Rumble: Global Pop Music and Utopian Impulse

Brown, J. — Tue, 02 Mar 2010 13:22:44 PST

This essay argues for the concept of a utopian impulse, a liberating power possible in music and dance. With a focus on African music, the essay argues against conventional Eurocentric world-music commodification and points instead to new music movements from Congo and from Angola that, engaging new forms of technology, do not require the practices of European curatorship.

Contributors

Tue, 01 Dec 2009 17:09:53 PST

Translation, American English, and the National Insecurities of Empire

Rafael, V. L. — Tue, 01 Dec 2009 17:09:53 PST

This essay inquires into the relationship between translation and empire in the United States. It argues that such a relationship cannot be understood apart from a critical appreciation of the Americanization, which is to say, translation of English from an imperial into a national language that required the reorganization of the nation's linguistic diversity into a hierarchy of languages resulting in the emergence of a monolingual hegemony. However, this American notion of translation as monolingual assimilation was always contested, and we can see its limits in the context of the recent U.S. occupation of Iraq. As an examination of the vexed position of Iraqi translators working for the U.S. military shows, attempts to deploy American notions of translation in war have devolved instead into the circulation of what in fact remains untranslatable and so unassimilable to U.S. imperialist projects.

Performing the Global University

Lim, E.-B. — Tue, 01 Dec 2009 17:09:53 PST

This essay considers the phenomenon of the global university, particularly the trend of setting up satellite campuses, or "outposts," in Asia and the Middle East. It tracks the global university as part of the Western university's international knowledge system and its connection to both colonial legacies and transnational capital. Joining conversations about the university's rabid corporatization, the essay uses the arts, and particularly the theater department, as a case study of how the bifurcation of professional training and scholarship, form and content, theory and practice may be deployed in the service of university transnationalism. Theater's "Edifice Complex" (the rampant infrastructural expansion of theater facilities and MFA-driven ethos since the late 1960s) is comparable to the global university's "Outpost Complex" (the construction of overseas campuses geared toward professional degrees amid billion-dollar architectural projects in Dubai and Abu Dhabi). The history of theater's institutional formation points to its complicity or vulnerability to the capitalist regime of the global university. This means that we have to view its disciplinary fissures, both past and present, as a corollary of institutional corporatization, and heed the call for a more sincere alliance between theater and performance studies. The essay is also a call for the arts and humanities in general to confront the market and global logics of knowledge production; it argues that we have to link a critique of epistemic recidivism in disciplinary formations to an institutional critique of university neocolonialism in the corporate ventures and values of the global university.

Cartographic Irresolution and the Line of Control

Kabir, A. J. — Tue, 01 Dec 2009 17:09:53 PST

This essay examines the "Line of Control" (LOC) dividing the region of Jammu and Kashmir into two parts controlled by India and Pakistan, respectively. It does so to establish the LOC as a symptom and marker of what I term "cartographic irresolution." Through theoretical arguments for the creation of a borderland of uncertainty around the LOC, I claim that this LOC borderland should be regarded as constituting a set of epistemological and material effects distinct from those produced by the official Indo-Pak border, which resulted from the Partition of 1947. I also examine select Pakistani, Kashmiri, and Indian texts that are marked, in form and content, by the irresolution produced by the LOC, in order to illustrate how this irresolution might affect the nationalisms concerned. In particular, a short story by Kashmiri author A. G. Athar enables me to conclude the article by considering, through the idea of a "critical melancholia," the ethical dimension of cartographic irresolution. I end by suggesting that we might also use this approach in thinking about recent geopolitical developments such as the opening of the Srinagar-Muzaffarabad bus route.

Dances with Things: Material Culture and the Performance of Race

Bernstein, R. — Tue, 01 Dec 2009 17:09:53 PST

Proceeding from Robyn Wiegman's call for a transition from questions of "why" to "how" with regard to formations of race, this article proposes a heuristic, the "scriptive thing," to analyze ways in which racial subjectivation emerges through everyday physical engagement with the material world. The term scriptive thing integrates performance studies and "thing theory" by highlighting the ways in which things prompt, structure, or choreograph behavior. A knife, a camera, and a novel all invite—indeed, create occasions for—repetitions of acts, distinctive and meaningful motions of eyes, hands, shoulders, hips, feet. These things are citational in that they arrange and propel bodies in recognizable ways, through paths of evocative movement that have been traveled before. I use the term script as a theatrical professional might, to denote not a rigid dictation of performed action but, rather, a necessary openness to resistance, interpretation, and improvisation. A "scriptive thing," like a play script, broadly structures a performance while unleashing original, live variations. Like the police in Louis Althusser's famous scenario, scriptive things leap out within a field, address an individual, and demand to be reckoned with. By answering a hail, by entering the scripted scenario, the individual is interpellated into ideology and thus into subjecthood. I conduct close readings of scriptive things, including a photograph of a light-skinned woman posing in about 1930 with a caricature of a young African American man, a set of twentieth-century arcade photographs, a viciously racist 1898 alphabet book by E. W. Kemble, and a black doll called "Uncle Tom" that was whipped in the 1850s by a white girl who would grow up to write best-selling children's books. These readings show how interpellation occurs through confrontations in the material world, through dances between people and things.

"Merry Christmas from Athens"

Tue, 01 Dec 2009 17:09:53 PST

"(Un)hooding" a Rebellion: The December 2008 Events in Athens

Astrinaki, R. — Tue, 01 Dec 2009 17:09:53 PST

This essay is a personally and politically implicated account of the December 2008 youth uprising in Greece, by an academic who, along with a group of her colleagues, participated actively in "street action" and followed closely the discourses articulated around it, struggling to make the events intelligible to themselves and debating the main issues that this rebellion raised: the absence of political claims and the production of violence against material symbols of the current regime of power. It is an attempt to make sense of the "events" while they were still resonant with the puzzlement, predicament, and ambivalence of the moment. It is also part of the effort by a section of Greek intellectuals of radical and leftist background to oppose the attempt by dominant political forces and social science to classify these events as a moment of disorder produced by small groups of troublemakers to be repressed and condemned to oblivion. It is part of the effort to provide a witness for them, instead, as a rebellion, as a story telling us something about Greek youth, politics, and society that must be listened to, understood, and interpreted, and as an "event" creating new potentialities in Greek political processes that remain to be revealed.

Contributors

Fri, 02 Oct 2009 14:46:42 PDT

Introduction

Edwards, B. H., McCarthy, A. — Fri, 02 Oct 2009 14:46:42 PDT

The essay provides a short introduction to the special anniversary issue of Social Text, explaining the protocol for the "keyword" essays that make up the majority of the issue: each contribution takes up particular points (single essays) or threads (themes in a number of essays over the years) in the publication history of the journal as starting point for a consideration of broader issues of knowledge production, critique, or methodology. The introduction begins with a discussion of the occasion of the thirtieth anniversary of the founding of Social Text, and recounts the origins and history of the journal in some detail. The piece describes the ways the editorial collective has functioned since 1979, both in the production of the journal itself and in a variety of other activities (including meetings, soirées, and conference panels). The introduction also discusses some of the major shifts in the organization of Social Text, including its affiliations since the mid-1980s with the CUNY Graduate Center, Rutgers University, and Columbia University (which have provided in-kind support and funded the managing editorial position) and with the University of Minnesota Press and Duke University Press (which have published the journal's book series and the journal itself).

The Collective as a Political Model

Fri, 02 Oct 2009 14:46:42 PDT

Fredric Jameson, Anders Stephanson, Stanley Aronowitz, John Brenkman, Sohnya Sayres, Andrew Ross, and Randy Martin discuss the role of the collective in the journal's political-intellectual work. They reflect on the alleged founding principle of Social Text: the idea that politics was not organized around parties but journals. The collective offered a way to learn theory and practice as political issues: it came up with political interventions that were urgent, of the moment, and had a theoretical cast.

Aesthetics

Min, S. — Fri, 02 Oct 2009 14:46:42 PDT

The essay focuses on Social Text's lack of engagement with aesthetics as a point of departure to think about art and politics in the wake of the culture wars, the intensification of globalization, and the aftermath of 9/11. The essay concludes with a forceful argument for a (re)turn to the aesthetic both within the journal and in cultural discourse in general.

Affect

Pellegrini, A., Puar, J. — Fri, 02 Oct 2009 14:46:42 PDT

This essay traces Fredric Jameson's important early analyses of the waning of affect and disappearance of the depth psychological subject under conditions of postmodernism, arguments he developed over the course of several essays in Social Text—beginning, in fact, in the journal's very first issue. This brief survey of Jameson's argument launches a sketch of the multiple genealogies and political uptakes of the term affect in more recent scholarly work, some of it also in the pages of Social Text.

AIDS

Cohen, E., Livingston, J. — Fri, 02 Oct 2009 14:46:42 PDT

This essay considers key themes in the history of HIV/AIDS, including biopolitics, affective communities, epidemics, and the meanings of immunity. It traces a set of intellectual, existential, and material connections between bioscientific inquiry, human existence, care, and community. The authors emphasize the ways that human vulnerability bespeaks social life.

(Theorizing the) Americas

Dopico, A. M. — Fri, 02 Oct 2009 14:46:42 PDT

As Social Text published its first essays on Latin America, the Americas were living the disastrous consequences of a hemispheric cold war in the forms of dictatorships, military rule, and brutal state violence; confronting popular and institutionalized revolutions; and suffering U.S. interventions in open or secret civil wars that would kill millions and devastate civil society through the end of the century.

The engagements of the essays in Social Text's first hundred issues offer an instructive map of engagements with Latin America and a history of critical movements in the U.S. academic Left across the last thirty years.

Social Text's attention to the long cold wars in the Americas shifted in the late eighties as writers traced new ideological positions and discourses, struggling over the meaning of the Americas amid the culture wars of the Reagan-Bush years, engaging the politics of multiculturalism, border studies, and Latino cultures in the United States. Contributors read the queer voices and homophobic paranoia of patriotic discourse—founding new disciplines that deconstructed the gendered authority of the state and established a new archive of queer poetics across the Americas. Across the nineties and into the new century, writers turned to the new subjects of globalization, questioning the logic and markets of development, and the new discourses of neoliberalism in the hemisphere. In more recent years, contributors explored the cultural archives of diaspora, the local lifeworld and geopolitical consequences of slum cities and unplanned urbanization, and the contentious afterlives of the foundational ideas of Latin American modernity.

Art

Nyong'o, T. — Fri, 02 Oct 2009 14:46:42 PDT

Was the photograph Shepard Fairey used as a basis for his "Hope" image of Barack Obama a social text? The Associated Press thought not when it threatened to sue Fairey for using a photograph it owned as the basis for his poster. What issues of aesthetics and appropriation are raised when remixers claim, in the name of an electronic commons, access to the anonymously produced creativity of the Internet?

Body

McGee, M. — Fri, 02 Oct 2009 14:46:42 PDT

An analysis of media coverage concerning the physiques of three iconic African American figures—Oprah Winfrey and Barack and Michelle Obama—is taken as a point of departure for revisiting Sohnya Sayre's 1987 Social Text article "Glory Mongering: Food and the Agon of Excess" and reflecting on the role of Social Text in offering critiques of everyday life.

China

Eng, D. L., Ruskola, T. — Fri, 02 Oct 2009 14:46:42 PDT

How should we go about interpreting, reading, and understanding "China" as a social text, in the face of persistent Orientalism and self-Orientalism, in an age when the ghosts of socialism are still all around us? Given its semicolonial history and its passage through communist and capitalist visions of modernity, China cannot be studied in isolation, as a preexisting thing in itself. Instead of reducing it to a preconstituted object of knowledge, we must ask how China, and the objects in relation to which it exists, have come into being, and how they become stabilized discursively.

Cold War

Singh, N. P. — Fri, 02 Oct 2009 14:46:42 PDT

This essay explores the imperial and colonial genealogies of the Nazi Holocaust as a form of industrialized killing. It argues that cold-war discourse, and particularly the theory of totalitarianism, enacts a displacement of these outside the ambit of Western history and theory. The continuity and disavowal of colonial violence, in this sense, frames the era of decolonization, which is told as a story of cold-war rivalry and anticommunist vigilance.

The Social Life of the Collective

Fri, 02 Oct 2009 14:46:42 PDT

Andrew Ross, Sohnya Sayres, Bruce Robbins, Randy Martin, John Brenkman, and Anders Stephanson discuss the venues where the collective met face-to-face: conversations and debates at manuscript reviews and formal meetings, but also the role of reading groups, conferences, and the soirees held at the collective members' lofts.

Collective

Edwards, B. H., McCarthy, A., Martin, R. — Fri, 02 Oct 2009 14:46:42 PDT

The story of the Social Text collective begins with the desire to establish a counterpoint to possessive individualism, creating a means for valuing collaborative engagement against the singular authorship of genius; later it would come to stand against the deadening metric of disciplinary accountability as well. The editorial collective foments a deliberative process that aims to set its own context and hence to make something generative of its internal disciplinary difference.

Commodity

Ralph, M. — Fri, 02 Oct 2009 14:46:42 PDT

If commodification is endemic to the logic of capitalism, it is perhaps because the space of the sacred—that which cannot have a market value affixed to it—has apparently receded. Still the idea that commodities are born from secular revelations suggests that there is plenty more to be said about the "metaphysical subtleties" and "theological niceties" that occasion their arrival.

Culture

Deer, P. — Fri, 02 Oct 2009 14:46:42 PDT

Modern cultural criticism, like the younger discipline of cultural studies, has long struggled to reconcile the antagonistic logic at the heart of the idea of culture. Social Text's project as a journal has been energized throughout by the contradictory genealogy of the term itself, of the inner dynamism and instability generated by the pull between culture defined, in Arnoldian terms, as the highest, disinterested "cultural" achievements of a civilization's elites, and its contrary anthropological definition as a "whole way of life." This ethnographic expansion of the range of culture, generated in part by the colonial encounter and in part by the collision with working-class subcultures, allowed it to include the whole way of life of other populations: now culture could include the popular and demotic, the marginalized and oppressed subjects of modernity. This contradictory inheritance from the nineteenth century was complicated and enriched by the emergence in the twentieth century of successive instantiations of culture within mass communications, signifying systems, and subaltern cultural productions generated out of decolonization and further class struggle. The picture is complicated by culture's intimate ties to the state: administration, governmentality, and war. These days, the culture concept's combination of expansionist energies and inner antagonisms makes it a slippery and untrustworthy idea: it offers, at once, too much and too little. Social Text's long romance with culture offers some invaluable lessons about the culture concept's continuing viability, or what it means, as editors Brent Edwards and Randy Martin asked in 2002, to pursue "the question of cultural politics after cultural studies."

Departures

Fri, 02 Oct 2009 14:46:42 PDT

Stanley Aronowitz, Toby Miller, John Brenkman, Randy Martin, and Bruce Robbins discuss the cycling of leadership and their own responses to leaving the journal or changing their role in the collective.

Diaspora

Ralph, M. — Fri, 02 Oct 2009 14:46:42 PDT

How does using the French term for jet lag, décalage, to theorize the gap in time and space that structures diasporic articulation encourage us to think of the period between the dawn of formal decolonization and the present as not merely a structure but an atmosphere of disenchantment: a reminder that diasporic bodies inhabit tactile economies, data streams, born of emotional and financial trajectories that make it impossible to anticipate the ingenious forms of belonging—and exquisite strategies of exclusion—they will ultimately help to erect, however unwittingly?

Interdisciplinarity

Fri, 02 Oct 2009 14:46:42 PDT

Stanley Aronowitz, Randy Martin, John Brenkman, and Toby Miller examine the journal's aim at understanding culture and politics without excluding certain topics or certain kinds of work. The journal offered a space for negotiating between different disciplines and their view of politics and what counted as writing. The journal wanted to introduce new ideas and to break down the divide between political economy and cultural and social theory.

Disciplinarity

Patell, S. R. K. — Fri, 02 Oct 2009 14:46:42 PDT

Social Text as both a collective and a publication has always troubled disciplinarity, with its commitment to various praxes and theories of the multi-, inter-, and transdisciplinary. This essay looks at the complex, if not ambivalent, place of literature in the multi-, inter-, and transdisciplinary space of Social Text. Literature, understood as a multiplicity of practices, theories, and critical methods, is a complex site for negotiating the tension of the universal and particular, a tension that governs, among others areas, the relation of theory and praxis and that of Marxist critique and empiricism. Pressuring the very success of the admonition to "always historicize," renewed attention to the literary specificity of rhetoric as trope indicates new ways of understanding the relationship between the universal and the particular, by recognizing the political and ethical force of the emergent universality of singularity, literary and lived.

Empire

Tadiar, N. X. M. — Fri, 02 Oct 2009 14:46:42 PDT

Edward Said's 1979 essay in the inaugural issue of Social Text, "Zionism from the Standpoint of Its Victims," places before us the problem of the present moment of global power—the problem called "empire"—in terms of the specific intellectual/political task Said set for himself with respect to Zionism; that is, to bring out its concealed history as it was exacted, from somewhere and some people. We are urged to ask: How do we critically understand the idea of empire and the reality it is a part of? What does it mean to examine empire from the standpoint of its victims? This essay takes up the differences between an older imperialism and present-day empire, in order to envision what yet remains for us to consider in opposing its contemporary global rule.

Environment

Dawson, A. — Fri, 02 Oct 2009 14:46:42 PDT

Social Text contributors have approached the environmental crises of the last several decades by exploring the constitution of a second nature. If, that is, the environment furnishes particular societies with a specific set of obstacles and possibilities, this original natural realm is reshaped and transformed through human agency. A hallmark of Social Text's theorization of the environment could be said to be critical inquiry into the modes through which biopower has shaped both society and the natural environment over the last several decades. Social Text contributors, for example, anatomized the impact of hegemonic projects of environmental transformation such as the Green Revolution. In addition, they reminded us that the polarized debates about climate change that unfolded during the 1990s were but the latest installment in the agonistic social construction of the climate in the modern world.

Feminism

Tenzer, L. — Fri, 02 Oct 2009 14:46:42 PDT

This essay surveys the feminist work published in Social Text over its thirty-year history, while noting an initial lack of interest in feminism among the journal's founders. It shows that early feminist work in the journal focused on cultural analysis, while later work engaged directly with the politics of the feminist movement, and credits Ellen Willis and Alice Echols, especially, with establishing in the 1980s a Social Text brand of feminism based on constructionism and materialism. The essay traces the engagement of feminist theory with postmodernism in the journal's pages and finally points to feminist questions that must be considered by the journal today in the context of broader social analysis to understand how rapidly changing economic realities intersect with gender.

Film and Mass Culture

McCarthy, A. — Fri, 02 Oct 2009 14:46:42 PDT

Social Text's engagement with mass culture, and particularly film, began as a way of rethinking the binaries structuring Marxist cultural criticism. The terms shifted over the years, partly in response to political developments such as the culture wars of the 1990s and partly in response to changing editorial commitments, which included a turn toward understanding culture as a domain of labor. The launch of the Social Text Web site represents another stage in the journal's ongoing interest in media as a site of leftist critique.

The Future of Journals

Fri, 02 Oct 2009 14:46:42 PDT

John Brenkman, Anders Stephanson, Sohnya Sayres, and Bruce Robbins discuss the changing role of journals. In light of the Internet, changing reading practices, and financing, doing a journal is an uphill struggle. However, magazines do sustain a kind of culture and chains of connection.

Governmentality

Jazeel, T. — Fri, 02 Oct 2009 14:46:42 PDT

This article uses David Scott's notion of "colonial governmentality" (from Social Text 43) to make a broader postcolonial intervention into the power structures that shape the theoretical rubrics of contemporary critical intellectual work. Advancing an argument about the governmentality of leftist academic knowledge production, it suggests that Euro-American journals like Social Text be attentive to their ongoing role in the production and effects of tensions between general theoretical ambition and the particularities of politics located in place.

Hip-Hop

Ralph, M. — Fri, 02 Oct 2009 14:46:42 PDT

The tendency for hip-hop enthusiasts to measure the genre against an imaginary golden age evidences a curious brand of nostalgia: a mixture of homesickness, loss, and longing that coheres in the angst of a generation. Meanwhile rappers and politicians blame each other for the demise of disadvantaged communities, as they overlook how each discourse harkens back to a time of prosperity that never existed.

Ideology

Harney, S. — Fri, 02 Oct 2009 14:46:42 PDT

Michael Brown's article "Ideology and the Metaphysics of Content" (ST 8, 1983) reminds us of what was at stake in the transition from ideology critique to cultural studies. Through an ethnomethodological close reading of the opening part of Marx's Capital, Brown teaches us that this text is educative before it is didactic and that its meaning is historical and available only in the encounter with the reader, an encounter that produces both reader and text. There is no room here for a correct content independent of reading in history. Brown's example is used to stage an encounter in teaching, in a British business school, between undergraduate students and reports of the current financial crisis, approaching the crisis phenomenologically. The article concludes with a discussion of mutual promises and possession in the world of finance.

Independent Publishing

Fri, 02 Oct 2009 14:46:42 PDT

John Brenkman, Stanley Aronowitz, Fredric Jameson, Andrew Ross, and Sohnya Sayres discuss the self-reliance and independence of the journal in the early days and the eventual move to the university press. Being tied to a university press offered editorial support, finances, and regular help, but also meant a rigid production schedule and fewer chances to gather in new material and thoroughly think through new avenues.

Labor and Class

Maxwell, R. — Fri, 02 Oct 2009 14:46:42 PDT

This essay concerns three decades of engagement with themes of labor and class in the pages of Social Text. It identifies common threads and describes dozens of variations that contributors made on these themes. The continuities include: social and cultural reproduction of class; race and class; gender and class; the state of the Left and the labor movement; working-class depictions in popular culture as well as in institutional discourses of business and government; commodification and class consciousness. Works also focused on new social movements, post-Fordist or postindustrial characteristics of the new international division of labor, deunionization, decline of the welfare state, industrial relocation, and working conditions in the global South. More recently, the journal made room for work on the impoverishment of the American middle class, on the worsening conditions of academic labor, and on theorizing "nonindustrial" informational work of symbol makers and symbol users (a.k.a. "immaterial labor," "no-collar workers," "knowledge workers," "creative labor," or "mental labor").

Marxism

Kazanjian, D. — Fri, 02 Oct 2009 14:46:42 PDT

This essay reflects on the import of Marxism for the history of Social Text. It argues that Marxism can be understood as a mode of challenging frameworks for thought rather than as a framework in and of itself.

National Allegory

Larkin, B. — Fri, 02 Oct 2009 14:46:42 PDT

This paper examines the debate between Fredric Jameson and Aijaz Ahmad in articles that appeared in Social Text 15 (1986) and Social Text 17 (1987) over the status of national allegory in third-world literature. It argues that national allegory can be produced not from authorial intention but from the dynamic of circulation across cultural difference.

Peer Review

Fri, 02 Oct 2009 14:46:42 PDT

Stanley Aronowitz, Randy Martin, Sohnya Sayres, and Toby Miller discuss the reasons why Social Text is not a peer-reviewed journal and shed light on the nature of collective meetings. The conversation around the submissions and commissions at the meetings was ephemeral but also constituted a moment of evaluation and responsibility.

Performance

Nyong'o, T. — Fri, 02 Oct 2009 14:46:42 PDT

Can "performance" ever be exactly defined? Or is the constitutive tension between what performances are and what performatives do simply part of what makes the field of performance studies politically pertinent?

Literature

Fri, 02 Oct 2009 14:46:42 PDT

Reflecting on the role of literature in Social Text, John Brenkman, Stanley Aronowitz, Sohnya Sayres, and Andrew Ross discuss the vision of the journal as a hybrid between a political review and a literary magazine. They touch on literature as a form of social knowledge, the relationship between creative writing and theory, and the question of how to evaluate creative submissions.

Poetry

Edwards, B. H. — Fri, 02 Oct 2009 14:46:42 PDT

Literature has been part of the purview of Social Text since the journal's inception, although the literary has never been presumed to be its paradigmatic or primary object of study. Moreover, from issue 4 (1981) through issue 39 (1994), the journal not only published scholarship on literature, but also sporadically published poetry and fiction. There are intriguing parallels between the experimentalism of the essays in the journal, especially in the rubric of short, theoretical pieces called "Unequal Developments" featured in early issues, and the experimentalism of the poetry and fiction.

Policy and Planning

Moten, F., Harney, S. — Fri, 02 Oct 2009 14:46:42 PDT

Policy is the imposition of insecurity, the oppressive regulation of the plans and operations by which the objects of policy anticipate and object to policy. These are notes toward an understanding of policy that also take up the question of whether it is inevitable that hope, and being wary of false hope, turn to policy. We suggest that ongoing operations and plans must be seen in fugitive opposition to the widespread attempts to formulate and participate in something called policy.

Postcolonialism

Miguel, Y. M.-S. — Fri, 02 Oct 2009 14:46:42 PDT

This essay proposes a brief reflection on the meanings and relevancy of postcolonialism as a keyword in contemporary cultural studies. Taking as a point of departure the well-known etymological crisis through which many scholars feel compelled to explain how postcolonial theory is still a productive approach, this entry questions the applicability of the postcolonial paradigm to study sixteenth-century Latin America, nineteenth-century Africa, or the twentieth-century Caribbean. The Caribbean and Latin America are used as a disciplinary counterpoint, to trace the advantages and disadvantages of the universalization of the postcolonial paradigm. This essay also reviews some of the key contributions to this topic by articles published in Social Text, as a way to celebrate this journal's publication of one hundred issues.

The Means of Production

Fri, 02 Oct 2009 14:46:42 PDT

Anders Stephanson, Bruce Robbins, Andrew Ross, Randy Martin, and Sohnya Sayres reflect on the physical labor and the cumbersome procedures of getting the journal published in the early days.

Production

Ross, A. — Fri, 02 Oct 2009 14:46:42 PDT

In this essay Andrew Ross reminisces about the methods and politics of collective production at Social Text in the 1980s and 1990s, recalling the hands-on participation of members of the Social Text collective in tasks like mailing out issues and the weekly meetings at which members reviewed submissions to the journal and debated questions of current interest. Ross also traces changes in the journal that reflected differences in the publishing climate and "information landscape."

The First Issue

Fri, 02 Oct 2009 14:46:42 PDT

Discussing the inaugural issue of Social Text, John Brenkman, Stanley Aronowitz, and Anders Stephanson emphasize the quality of the articles in terms of theoretical sophistication and the versatility of genres and questions tackled. The first issue aimed at making a political intervention and, through the selection of essays, put forward the idea that for a socially critical mode of theory and thinking, reflection on mass culture was as important as reflection on literature and art.

Prospectus

Brenkman, J. — Fri, 02 Oct 2009 14:46:42 PDT

This essay revisits the "Prospectus" written by the author, Stanley Aronowitz, and Fredric Jameson for Social Text's first issue and evaluates it with thirty years' hindsight. It focuses on the journal's position regarding Marxism and the then Soviet Union, and its—for the author—problematic veering away from liberalism. It praises the plurality of thinkers and theories that the journal engaged with.

Queer and Disorderly

Stadler, G. — Fri, 02 Oct 2009 14:46:42 PDT

This essay examines contemporary lesbian/gay/bisexual/transgender (LGBT) activism in the light of Eve Kosofsky Sedgwick's important Social Text piece from 1991, "How to Bring Your Kids Up Gay." It revisits the restrictive views of gender that she discovered in the psychotherapeutic professions via current (2008–2009) controversies over the authors chosen to write the entry "Gender Identity Disorder" in the forthcoming edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-V). It argues that the priorities of current LGBT activism, centered largely on same-sex marriage, indicate a shift away from the deeply antinormative strain of queer politics, a move that threatens to isolate lesbian and gay activists from transgender activists.

The Queer Social Text

Munoz, J. E. — Fri, 02 Oct 2009 14:46:43 PDT

This essay considers the history of "a queer text" in the journal Social Text. It posits that the journal, through individual essays and pivotal special issues, has made significant contributions to the development of a queer social theory. The essay suggests that queer theory needs to conceptualize itself in relation to a larger tradition of Left critical thought.

Racial Politics (in the United States)

Mukherjee, R. — Fri, 02 Oct 2009 14:46:43 PDT

This piece briefly revisits Social Text's promise and vantage as a forum for emergent critical scholarship on the challenges of repoliticizing post–civil rights political subjectivities and the relevance of public intellectuals within the promise of black politics in the wake of Barack Obama's historic ascension to the presidency of the United States. Parsing cultural strains of racial triumph and vexation, of political elation as well as mourning, that mark the Obama phenomenon, the piece underscores the urgency of critically interrogating the post in "postracial."

Revolution

Saldana-Portillo, M. J., Sartorius, D. — Fri, 02 Oct 2009 14:46:43 PDT

This essay reflects on the Social Text articles on revolution. Many first-world contributors to Social Text, on the one hand, reassessed Marxist theories of political consciousness and political economy in light of the praxis of third-world revolutionary experiences, especially those in Latin America. The reality of these processess permanently debunked the developmentalism of Euro-American Marxist theory that privileged a model of revolutionary agency stubbornly identified with urban, industrial labor. The cultural and sexual policies of revolutionary governments, on the other hand, were also often the subject of criticism for contributors. This essay argues that such criticism is often ahistorical in its focus on Cuban politics in the seventies. Rather than prognosticate the death of revolution and the triumph of liberal democracy, as Social Text contributors tended to do after 1989, the authors reflect upon the dynamic and historically contingent nature of revolutionary consciousness, change, and culture that is ongoing.

"Social Text"

Fri, 02 Oct 2009 14:46:43 PDT

Three founding editors, John Brenkman, Stanley Aronowitz, and Fredric Jameson, discuss the origins of the title Social Text. Aronowitz argues that it comes from Henri Lefebvre's Critique of Everyday Life, while Jameson claims he did not know Lefebvre at the time and the phrase social text just occurred to him as an effective way to gesture toward the journal's sociological and cultural interests and its commitment to grounding itself in the textual.

Social Text

Edwards, B. H., Nelson, A., Nyong'o, T. — Fri, 02 Oct 2009 14:46:43 PDT

Despite the divergence between the accounts given by Stanley Aronowitz and Fredric Jameson of the origins of the name Social Text, it is worth exploring the use of the phrase in the work of Henri Lefebvre. Even if it is ultimately a false cognate, the chapter titled "The Social Text" in the second volume of his Critique of Everyday Life (1961) is an intriguing intertext for the journal, especially given the importance of the category of the "everyday" in its early issues. The occasional invocation of the title phrase in Social Text articles over the years might be described as heuristic rather than categorical: an ongoing, dialogic effort to limn an arena of investigation, rather than the attempt to define once and for all an aspect of a broader social field.

Alondra Nelson revisits "The New Right and Media," an article from Social Text's inaugural issue that explored how "media politics" and forms of mediated, networked communication were used by conservative countermovements to advance their ideological agendas. The idea of "social textronics" is taken up from this article, revised and expanded in order to suggest how new technologies and mediated communication are—borrowing from Fredric Jameson—"a symbolic vehicle" for, and an object of, progressive critique.

Tavia Nyong'o considers how the image of the Internet as a creative commons is belied by Marx's insight into the dominating logic of machinic over human intelligence. Fortunately, technology also gives rise to a social brain, whose virtuosity both Marx and Paolo Virno see as crucial to the emancipation of species-being.

State

Gautney, H. — Fri, 02 Oct 2009 14:46:43 PDT

This essay discusses the evolution of state theory from G. W. F. Hegel to Gilles Deleuze, with a focus on the ways in which the state has been theorized as a mechanism of egalitarian social change. Following Michael Hardt and Antonio Negri's empire thesis, it raises the question of whether institutional mediations, like states and trade unions, have exhausted their potential to serve as agents of social change. In answering this question, the essay points to contemporary movement activity and recent developments in Latin American politics in which states have played a major role in enacting change.

Theory

Harper, P. B. — Fri, 02 Oct 2009 14:46:43 PDT

Considering the intersections of theory, culture, and ideology in Social Text, this essay suggests that for all its interest in theory, the journal has never had a theory of theory, except for the proposition that insofar as theory explains practice it must derive from the latter. However, this proposition has never been definitively realized because at no point has everyone involved been able to agree on what constitutes practice: as the means of articulation are always contested and contingent, the production of theory itself is an unending and necessary project.

University

Martin, R., Lim, E.-B. — Fri, 02 Oct 2009 14:46:43 PDT

As a critical nomenclature in Social Text, university points to a constellation of trends that coalesces around the corporate ethos of higher education: professionalization, academic capitalism, industry standardization, anti-intellectualism, managerialist protocols, adjunctifying professoriate, casualized instruction, knowledge factory, and the global university. As an interventionist journal of tendency, work published over the past thirty years has considered responses along intersecting organizational registers of the professional association, industrial union and party. These areas of inquiry are now embroiled in the phenomenon of the global university, or the proliferation of U.S and European academic outposts in the rest of the world. This complex terrain of global corporatization, neocolonial educative empires, and cross-cultural exchange calls for a renewed critical vigilance, particularly around the implications of university transnationalism for minor epistemologies in the arts and humanities.

War

Feldman, A. — Fri, 02 Oct 2009 14:46:43 PDT

As viewed through the lens of work published in Social Text on the governmentality of terror] this essay proposes that the trope of the terrorist signals the departure of a reliable and calculable enemy and the "unleashing of the incommensurable— that we now know as asymmetric war, as the unending war of and against terror, and other emblematica of the immeasurable such as shock and awe. However, this is also a war of political effects and consequences deemed not worthy of measurement, such as collateral damage, the discounted Iraqi dead, and the unlimited detention of perpetual "terrorists" at various hidden black sites.

The Social Text Collective: 1979 to 2009

Fri, 02 Oct 2009 14:46:43 PDT

Collected here are the names of all members of the Social Text collective, from the founding of the journal until today. The masthead of Social Text 1 is reproduced, to honor the founding editors and collective. People who joined the collective subsequently are listed in three groups, by each decade of the journal's thirty-year history.

Contributors

Mon, 18 May 2009 12:47:56 PDT

Neocitizenship and Critique

Cherniavsky, E. — Mon, 18 May 2009 12:47:56 PDT

This essay asks how the political identity and the domain of civic participation we reference with the term citizenship has been transformed in the contexts of neoliberalism. Michel Foucault famously argues that the subject of a market-centered, neoliberal governance structure is best understood as an entrepreneur of him- or herself. Recent influential scholarship in the (interdisciplinary) humanities and social sciences builds on Foucault's model of an entrepreneurial self-manager in order to posit a new mode of "self-enterprising citizen-subject," not defined by her claims on the state. This essay considers how, to what degree and in what spheres of public life, the neoliberal self-manger exercises the political capacities of a citizen. The analysis dwells particularly on what many have observed is a contemporary dissolution of the modern nation-state synthesis, predicated on the exercise of popular sovereignty, but also, in complementary fashion, on the creation of civic pedagogies: on educational institutions that set specific norms of social and political identity, and thereby transform the "mob" into a national "people." I argue that these kinds of normative (or disciplinary) pedagogies no longer seem functional to the aims of neoliberal governance and speculate on the parameters of an emerging "neocitizenship," in which citizens and noncitizens alike appear primarily as the targets of knowledge and control, rather than of social discipline.

TV Urgente: Urban Exclusion, Civil Society, and the Politics of Television in Venezuela

Leary, J. P. — Mon, 18 May 2009 12:47:56 PDT

This essay explores the politics of representation in contemporary Venezuelan television, which in its mainstream forms has produced an urban imaginary that models national citizenship on the geographic, class, and racial divisions of the Venezuelan metropolis. The nation's airwaves have been a crucial theater of partisan class conflict in Venezuelan society since the election of President Hugo Chávez, a radical social democrat who has counted on the residents of the nation's huge urban slums, or barrios, as a major constituency. This study concentrates on the two major antagonists in this televisual battle by exploring their visual content and production methods in the context of the history of Caracas's barrios and the nation's television industry. On one side, Globovisión, a private cable news channel, commands the loyalty of the nation's middle-class anti-Chávez opposition; on the other, Catia TVe, a nonprofessional UHF station based in west Caracas's barrios, mobilizes its urban constituency with some state financing. The essay examines the different forms of political citizenship that these stations offer and explores how they complicate popular liberal notions of "civil society." It also reconsiders questions about the political role of mass media—to what extent are citizens manipulated as objects of the television media, and can they become subject-participants in their own representation? Finally, this study provides a critical examination of the formally innovative model of "alternative" media production that Catia TVe offers.

The Labor Factor in the Creative Economy: A Marxist Reading

Pang, L. — Mon, 18 May 2009 12:47:56 PDT

This paper offers a Marxist analysis of the creative agency conceptualized by the new creative economy. Analyzing the differences and continuities between the creative economy and the traditional industrial economy, I explore how creative labor is selectively invested with the logics of both artistic production and industrial production, so that the creative economy, like and unlike the traditional industrial economy, could operate and proliferate amid the tensions between scarcity and abundance. Labor does not evaporate in the creative economy, but it is only more intricately shaped to accommodate to and justify a condensed and twisted late-capitalist economic logic.

Seventeen Years, Seventeen Murders: Biospectacularity and the Production of Post-Cold War Knowledge in El Salvador

Moodie, E. — Mon, 18 May 2009 12:47:56 PDT

This essay develops the concept of biospectacle, in which the politics of managing populations becomes sensational visual display. It does so as it explores a series of events in 1999 surrounding the arrest and trial of "El Directo," a gang member in El Salvador who, at age seventeen, was accused of seventeen murders. The episode occurred at a key political conjuncture, at the end of a brutal decade in which staggering crime rates belied the Central American country's claim to an internationally lauded "peace." The El Directo biospectacle emerged from the convergence of a widely shared sense of out-of-control postwar criminality with the potent memory of past "terrorist subversion" of the war era and before. It was orchestrated by media moguls, powerful politicians, and law-enforcement leaders who opposed legal limits on sentences for juveniles imposed by United Nations conventions. They also hoped to reassert the mano dura (or iron-fist style) penal order that had been loosened after the war. But as a symbolically dense figure, crystallizing the contradictions of the moment, El Directo's meaning would be reconfigured on multiple planes. The biospectacle represented both anxiety and affinity, meeting a desire in the larger population to grasp palpable insecurity, to understand what was happening in a future once imagined as "peace."

Not Yet Beyond the Veil: Muslim Women in American Popular Literature

Ahmad, D. — Mon, 18 May 2009 12:47:56 PDT

Following a brief discussion of Chinua Achebe's Things Fall Apart, this essay examines the newly burgeoning genre of "oppressed Muslim women" narratives. For each of the texts under consideration—Jean Sasson's Princess, Latifa and Shékéba Hachemi's My Forbidden Face, Azar Nafisi's Reading Lolita in Tehran, and Suzanne Fisher Staples's Shabanu: Daughter of the Wind—Ahmad examines its claims toward authenticity and also notes the places in which those claims are undermined. Ahmad focuses on how the texts at once generate and challenge essentialized misreadings, misreadings that then proliferate within a prevailing interpretive field that posits feminism and multiculturalism as irreconcilable goals. The emphasis in the essay is on reader reception as well as content: whereas some of the texts responsibly recognize and depict local specificities, that nuance often disappears as readers situate texts within a "clash of civilizations" discourse. Ahmad considers as well the effect of publishing apparatuses like covers, appendices, and reviews, which can encourage a reductive and simplistic reception. The essay concludes with an emphasis on interpretive and pedagogical practices that discourage reductive ethnographic readings.

Rose the Hippopotamus, Central Park Zoo

Adorno, T. W. — Mon, 18 May 2009 12:47:56 PDT

Editorial Note

Edwards, B. H. — Mon, 18 May 2009 12:47:56 PDT

A Short Introduction to Adorno's Mediation between Kultur and Culture

Kalbus, M. — Mon, 18 May 2009 12:47:56 PDT

This introduction to the translation of Theodor W. Adorno's "Kultur and Culture," originally a lecture not intended for transcription and publication, situates the talk amongst Adorno's analyses of U.S. society and traces his distinctions between European and American understandings of culture. The talk is a rare example where Adorno discusses culture per se, as opposed to his work on "culture industry" and "cultural criticism." The object of the critical and dialectical critique—a prime example of "immanent critique" as understood by the Frankfurt school—is the Enlightenment, both as a historical epoch and as human beings' increasing technical mastery over nature. In its historical sense, the Enlightenment has been victorious in the United States, where free and equal citizens engage in market exchanges as free agents, without feudal and precapitalist residues. Examining the concept of culture in American and European context suggests that in the United States, culture is seen as an exertion of control over human nature and one's natural surroundings. On the other hand, the Old World is "cultured" because it preserved, cared for nature: the Enlightenment as humans' increasing technical mastery over nature has not been completely victorious. In its critique of the Enlightenment both in the historical and philosophical sense, "Kultur and Culture" seeks to transcend the dichotomy of uncritically identifying oneself with or hypercritically isolating oneself from the United States. It rejects the opposition between the allegedly profound German Kultur and the "mere civilization" of the United States. The introduction concludes by highlighting the main challenges of translating "Kultur and Culture": the author's complex sentences and the characteristics of a spontaneous, freely held speech, which are mirrored in the syntax of the translation.

Kultur and Culture

Adorno, T. W. — Mon, 18 May 2009 12:47:56 PDT

This lecture examines American and European understandings of the concept of culture and highlights the need for developing critical thought instead of yielding to the strength of the status quo in either setting. At the heart of the contrast between American and German culture lie two approaches toward the word culture: (1) gaining mastery over one's natural surroundings and human nature; and (2) caring for and preserving nature that the human power simultaneously destroys. These approaches are not without negative aspects: American culture, based on the idea of taming nature, does not go beyond shaping the external world and relationships between people. In Germany, grounding the concept of culture in the idea of conserving nature for its own sake has led to spiritualization, to Geisteskultur but has made people forget the idea of culture as a conscious confrontation of external and internal nature that shapes political reality. On the basis of these two approaches to culture, Americans tend to regard European culture as limited to aesthetics, and Germans see Americans as "uncultured." Opposing this anti-American stance, the lecture points out that in American society of pure exchange, democracy is more substantial than in Germany: the universality of the exchange principle leads to a greater freedom from authority, does not allow one to isolate oneself in one's own individual interests, and brings benevolence to human interactions. However, the exchange society generates the pressure of conformity, particularly dangerous for emigrant intellectuals. The talk thus seeks to overcome the dichotomy of uncritically identifying oneself with, or hypercritically isolating oneself from, the United States. Adorno proposes that it is not enough simply to understand one another or realize that everything has positive and negative sides: in both the United States and Europe it is crucial not to let go of critical thought and surrender to the status quo.

Questions on Intellectual Emigration

Adorno, T. W. — Mon, 18 May 2009 12:47:56 PDT

This article explores the notion of contribution and the role of emigrant intellectuals in relation to their new cultural context. Using the example of German exiles in the United States, Adorno suggests that if emigrants find the demands for intellectual independence in discord with the dominant habits of American intellectual life, they should not conform to the American Geist. In academic fields, the notion of contribution is visible in the positive sciences but becomes more problematic in the humanities, where contribution appears not as a palpable result but as a reflection about the results and the nature of the contribution itself. The idea of contribution presupposes the merit of the order to which the contribution is being made: it is precisely this merit of the order that needs to be scrutinized. Emigrant intellectuals—by making contributions without critically reflecting upon them—and the organization of American intellectual life itself—by insisting that the intellectual either integrate him- or herself or remain an outsider—are to blame for furthering standardized contribution. The emigrant intellectual should not accept the idea of "this is the way it is done here" but needs to develop critical thought in relation to the new context. The article proposes four demands to intellectual emigration: (1) one should not cancel out previous life experience and consider emigration as beginning life anew; (2) one must resist the pressure of the industrial apparatus; (3) one must express one's thoughts without regards for ends and the sake of communication; and (4) one must not curtail insight, imagination, and speculation. The article thus propounds the idea that we can only contribute to the building of a better society by not "blindly devot[ing] ourselves to the existing" one.

"States."

McCarthy, A. — Mon, 18 May 2009 12:47:56 PDT

Depression Today, or New Maladies of the Economy

Andrews, J. — Mon, 18 May 2009 12:47:56 PDT

Drawing on recent theories of affect and affectivity, this essay argues that depression is an "affect" that connects the individual and the social. In particular, depression serves as both a response to, and a cause of, economic fears and uncertainties—a "quasi-cause" that opens up negative feelings into political potentials. In examination of two New York Times feature articles from the mid-1970s, the essay suggests that depression and economic crisis have been ineluctably linked in the recent period of neoliberalism.