In a wide-ranging, cross-cultural, and transhistorical assessment, John Mowitt examines radio's central place in the history of twentieth-century critical theory. A communication apparatus that was a founding technology of twentieth-century mass culture, radio drew the attention of theoretical and philosophical writers such as Jean-Paul Sartre, Walter Benjamin, Jacques Lacan, and Frantz Fanon, who used it as a means to disseminate their ideas. For others, such as Martin Heidegger, Theodor Adorno, and Raymond Williams, radio served as an object of urgent reflection. Mowitt considers how the radio came to matter, especially politically, to phenomenology, existentialism, Hegelian Marxism, anticolonialism, psychoanalysis, and cultural studies. The first systematic examination of the relationship between philosophy and radio, this provocative work also offers a fresh perspective on the role this technology plays today.

In a wide-ranging, cross-cultural, and transhistorical assessment, John Mowitt examines radio's central place in the history of twentieth-century critical theory. A communication apparatus that was a founding technology of twentieth-century mass culture, radio drew the attention of theoretical and philosophical writers such as Jean-Paul Sartre, Walter Benjamin, Jacques Lacan, and Frantz Fanon, who used it as a means to disseminate their ideas. For others, such as Martin Heidegger, Theodor Adorno, and Raymond Williams, radio served as an object of urgent reflection. Mowitt considers how the radio came to matter, especially politically, to phenomenology, existentialism, Hegelian Marxism, anticolonialism, psychoanalysis, and cultural studies. The first systematic examination of the relationship between philosophy and radio, this provocative work also offers a fresh perspective on the role this technology plays today.

This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as speech, music, industrial sounds, or codified signals. Mowitt is particularly interested in the fact that beyond hearing and listening we "audit" sounds and do so by drawing on paradigms of thought not easily accommodated within the concept of "sound studies." To draw attention to the ways in which sounds often are not perceived for the social and political functions they serve, each chapter presents a culturally resonant sound--including a whistle, an echo, a gasp, and silence - to show how sounds enable critical social and political concepts such as dialogue, privacy, memory, social order, and art-making. Sounds: The Ambient Humanities significantly engages, provokes, and contributes to the dynamic field and inquiry of sound studies.

This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as speech, music, industrial sounds, or codified signals. Mowitt is particularly interested in the fact that beyond hearing and listening we "audit" sounds and do so by drawing on paradigms of thought not easily accommodated within the concept of "sound studies." To draw attention to the ways in which sounds often are not perceived for the social and political functions they serve, each chapter presents a culturally resonant sound - including a whistle, an echo, a gasp, and silence - to show how sounds enable critical social and political concepts such as dialogue, privacy, memory, social order, and art-making. Sounds: The Ambient Humanities significantly engages, provokes, and contributes to the dynamic field and inquiry of sound studies.

In a wide-ranging, cross-cultural, and transhistorical assessment, John Mowitt examines radio’s central place in the history of twentieth-century critical theory. A communication apparatus that was a founding technology of twentieth-century mass culture, radio drew the attention of theoretical and philosophical writers such as Jean-Paul Sartre, Walter Benjamin, Jacques Lacan, and Frantz Fanon, who used it as a means to disseminate their ideas. For others, such as Martin Heidegger, Theodor Adorno, and Raymond Williams, radio served as an object of urgent reflection. Mowitt considers how the radio came to matter, especially politically, to phenomenology, existentialism, Hegelian Marxism, anticolonialism, psychoanalysis, and cultural studies. The first systematic examination of the relationship between philosophy and radio, this provocative work also offers a fresh perspective on the role this technology plays today.

This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as speech, music, industrial sounds, or codified signals. Mowitt is particularly interested in the fact that beyond hearing and listening we "audit" sounds and do so by drawing on paradigms of thought not easily accommodated within the concept of "sound studies." To draw attention to the ways in which sounds often are not perceived for the social and political functions they serve, each chapter presents a culturally resonant sound—including a whistle, an echo, a gasp, and silence—to show how sounds enable critical social and political concepts such as dialogue, privacy, memory, social order, and art-making. Sounds: The Ambient Humanities significantly engages, provokes, and contributes to the dynamic field and inquiry of sound studies.

Exploring several dimensions of the problem of "film languages," this volume engages the complications inherent in the study of the "other" and investigates the intricate relationship between postcoloniality, national identity, ideology, and filmmaking. Author John Mowitt establishes how Eurocentrism sustains both the concept of the foreign language film and the flawed initiative of multiculturalism. Using bilingualism and the concept of foreign film language, Re-takes pushes film studies beyond both linguistics and psychoanalysis to resituate is within the networks of global cultural communication.Through close readings of the bilingual films of Senegalese filmmaker Sembene Ousmane and Bolivian filmmaker Jorge Sanjines, Mowitt articulates the poetics and politics of postcoloniality in the global cinematic field, and challenges film studies to reflect on the relation between its organizing analytical distinctions - national and foreign, textual and institutional - and its position within globalization. Examining how elements involved in bilingual films have implications for the way academic intellectuals classify and misappropriate cultural forms, Re-takes is a provocative intervention into ongoing discussions of the changing nature of film and media studies.

Rethinking the importance of Sigmund Freud’s landmark book The Interpretation of Dreams a century after its publication in 1900, this work brings together psychoanalysts, philosophers, cultural theorists, film and visual theorists, and literary critics from several continents in a compilation of the best clinical and theoretical work being done in psychoanalysis today. It is unique in convening both theory and practice in productive dialogue, reflecting on the encounter between psychoanalysis and the tradition of hermeneutics. Collectively the essays argue that Freud’s legacy has shaped the way we think about not only psychology and the nature of the self but also our understanding of politics, culture, and even thought itself. Contributors: Willy Apollon, Gifric; Karyn Ball, U of Alberta, Edmonton; Raymond Bellour, Centre National de la Recherche Scientifique; Patricia Gherovici, Philadelphia Lacan Study Group and Seminar; Judith Feher-Gurewich, New York U; Jonathan Kahana, New York U; A. Kiarina Kordela, Macalester College; Pablo Kovalovsky, Clinica de Borde; Jean Laplanche, U of Lausanne; Laura Marcus, U of Sussex; Andrew McNamara, Queensland U of Technology; Claire Nahon; Yun Peng, U of Minnesota; Gerard Pommier, Nantes U; Jean-Michel RabatÉ, Princeton U; Laurence A. Rickels, U of California, Santa Barbara; Avital Ronell, New York U; Elke Siegel, Yale U; Rei Terada, U of California, Irvine; Klaus Theweleit, U of Freiburg-im-Breisgau; Paul Verhaege, U of Ghent, Belgium; Silke-Maria Weineck, U of Michigan.  Catherine Liu is associate professor of comparative literature and film and media studies at the University of California, Irvine. John Mowitt is professor and chair of cultural studies and comparative literature at the University of Minnesota. Thomas Pepper is associate professor of cultural studies and comparative literature at the University of Minnesota. Jakki Spicer received her Ph.D. in cultural studies and comparative literature from the University of Minnesota.

The concept of textuality in recent decades has come to designate a fundamentally contested terrain within a number of academic disciplines. How it came to occupy this position is the subject of John Mowitt's book, a critical genealogy of the social and intellectual conditions that contributed to the emergence of the textual object.Beginning with the Tel Quel group in France in the sixties and seventies, Mowitt's study details how a certain interdisciplinary crisis prompted academics to rethink the conditions of cultural interpretation. Concentrating on three disciplinary projects-literary analysis, film studies, and musicology-Mowitt shows how textuality's emergence called into question not merely the relations among these disciplines, but also the cultural logic of disciplinary reason as such.At once an effort to define "the text" and to explore and extend the theory of textuality, this book illustrates why the notion of interdisciplinary research has recently acquired such urgency. At the same time, by emphasizing the genealogical dimension of the textual object, Mowitt raises the issues of its "antidisciplinary" character, and by extension its immediate pertinence for the current debates over multiculturalism and Eurocentrism.

Percussion is an attempt-in the author’s words-to make sense of "senseless beating," to grasp how rhythm makes sense in music and society. Both a scholar and a former professional drummer, John Mowitt forges a striking encounter between cultural studies and new musicology that seeks to lay out the "percussive field" through which beating-specifically the backbeat that defines early rock-and-roll-comes to matter for raced, urban subjects.For Mowitt, percussion is both an experience of embodiment-making contact in and on the skin-and a provocation for critical theory itself. In delimiting the percussive field, he plays drumming off against the musicological account of the beat, the sociological account of shock and the psychoanalytical account of fantasy. In the process he touches on such topics as the separation of slaves and drums in the era of the slave trade, the migration of rural blacks to urban centers of the North, the practice and politics of "rough music," the links between interpellation and possession, the general strike, beating fantasies, and the concept of the "skin ego."Percussion makes a fresh and provocative contribution to cultural studies, new musicology, the history of the body and critical race theory. It will be of interest to students of cultural studies and critical theory as well as readers with a serious interest in the history of music, rock-and-roll and drumming.

Percussion is an attempt—in the author’s words—to make sense of "senseless beating," to grasp how rhythm makes sense in music and society. Both a scholar and a former professional drummer, John Mowitt forges a striking encounter between cultural studies and new musicology that seeks to lay out the "percussive field" through which beating—specifically the backbeat that defines early rock-and-roll—comes to matter for raced, urban subjects.For Mowitt, percussion is both an experience of embodiment—making contact in and on the skin—and a provocation for critical theory itself. In delimiting the percussive field, he plays drumming off against the musicological account of the beat, the sociological account of shock and the psychoanalytical account of fantasy. In the process he touches on such topics as the separation of slaves and drums in the era of the slave trade, the migration of rural blacks to urban centers of the North, the practice and politics of "rough music," the links between interpellation and possession, the general strike, beating fantasies, and the concept of the "skin ego."Percussion makes a fresh and provocative contribution to cultural studies, new musicology, the history of the body and critical race theory. It will be of interest to students of cultural studies and critical theory as well as readers with a serious interest in the history of music, rock-and-roll and drumming.

A reading of Theory that in tracing when and where Theory arises in the event of reading proposes how Theory might best be handled in the context of higher education today. Arguing against those who propose to avoid Theory in the name of its putative obsolescence, this text sets out to challenge two aspects of this avoidance. On the one hand, Theory has been set aside in the name of identity politics, that is, the proposition that its intellectual pertinence has been overshadowed by a sense of political urgency construed as at odds with Theory. Theory itself has assumed an identity, a profile. On the other hand, implicit within the avoidance of Theory is a concept of “context” that calls for reflection. Resisting the tendency to treat context as either negligible or obvious, this text sets out to trace, in the when and where of Theory, the rudiments of a “sociographic” (think “historiographic”) account of context. In relation to it, the reading that is Theory can be usefully situated as part of a politics of higher education in the era of the global crisis of the university.

A reading of Theory that in tracing when and where Theory arises in the event of reading proposes how Theory might best be handled in the context of higher education today. Arguing against those who propose to avoid Theory in the name of its putative obsolescence, this text sets out to challenge two aspects of this avoidance. On the one hand, Theory has been set aside in the name of identity politics, that is, the proposition that its intellectual pertinence has been overshadowed by a sense of political urgency construed as at odds with Theory. Theory itself has assumed an identity, a profile. On the other hand, implicit within the avoidance of Theory is a concept of “context” that calls for reflection. Resisting the tendency to treat context as either negligible or obvious, this text sets out to trace, in the when and where of Theory, the rudiments of a “sociographic” (think “historiographic”) account of context. In relation to it, the reading that is Theory can be usefully situated as part of a politics of higher education in the era of the global crisis of the university.

In a wide-ranging, cross-cultural, and transhistorical assessment, John Mowitt examines radio's central place in the history of twentieth-century critical theory. A communication apparatus that was a founding technology of twentieth-century mass culture, radio drew the attention of theoretical and philosophical writers such as Jean-Paul Sartre, Walter Benjamin, Jacques Lacan, and Frantz Fanon, who used it as a means to disseminate their ideas. For others, such as Martin Heidegger, Theodor Adorno, and Raymond Williams, radio served as an object of urgent reflection. Mowitt considers how the radio came to matter, especially politically, to phenomenology, existentialism, Hegelian Marxism, anticolonialism, psychoanalysis, and cultural studies. The first systematic examination of the relationship between philosophy and radio, this provocative work also offers a fresh perspective on the role this technology plays today.

In a wide-ranging, cross-cultural, and transhistorical assessment, John Mowitt examines radio's central place in the history of twentieth-century critical theory. A communication apparatus that was a founding technology of twentieth-century mass culture, radio drew the attention of theoretical and philosophical writers such as Jean-Paul Sartre, Walter Benjamin, Jacques Lacan, and Frantz Fanon, who used it as a means to disseminate their ideas. For others, such as Martin Heidegger, Theodor Adorno, and Raymond Williams, radio served as an object of urgent reflection. Mowitt considers how the radio came to matter, especially politically, to phenomenology, existentialism, Hegelian Marxism, anticolonialism, psychoanalysis, and cultural studies. The first systematic examination of the relationship between philosophy and radio, this provocative work also offers a fresh perspective on the role this technology plays today.

This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as speech, music, industrial sounds, or codified signals. Mowitt is particularly interested in the fact that beyond hearing and listening we "audit" sounds and do so by drawing on paradigms of thought not easily accommodated within the concept of "sound studies." To draw attention to the ways in which sounds often are not perceived for the social and political functions they serve, each chapter presents a culturally resonant sound--including a whistle, an echo, a gasp, and silence - to show how sounds enable critical social and political concepts such as dialogue, privacy, memory, social order, and art-making. Sounds: The Ambient Humanities significantly engages, provokes, and contributes to the dynamic field and inquiry of sound studies.

This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as speech, music, industrial sounds, or codified signals. Mowitt is particularly interested in the fact that beyond hearing and listening we "audit" sounds and do so by drawing on paradigms of thought not easily accommodated within the concept of "sound studies." To draw attention to the ways in which sounds often are not perceived for the social and political functions they serve, each chapter presents a culturally resonant sound - including a whistle, an echo, a gasp, and silence - to show how sounds enable critical social and political concepts such as dialogue, privacy, memory, social order, and art-making. Sounds: The Ambient Humanities significantly engages, provokes, and contributes to the dynamic field and inquiry of sound studies.

In a wide-ranging, cross-cultural, and transhistorical assessment, John Mowitt examines radio’s central place in the history of twentieth-century critical theory. A communication apparatus that was a founding technology of twentieth-century mass culture, radio drew the attention of theoretical and philosophical writers such as Jean-Paul Sartre, Walter Benjamin, Jacques Lacan, and Frantz Fanon, who used it as a means to disseminate their ideas. For others, such as Martin Heidegger, Theodor Adorno, and Raymond Williams, radio served as an object of urgent reflection. Mowitt considers how the radio came to matter, especially politically, to phenomenology, existentialism, Hegelian Marxism, anticolonialism, psychoanalysis, and cultural studies. The first systematic examination of the relationship between philosophy and radio, this provocative work also offers a fresh perspective on the role this technology plays today.

This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as speech, music, industrial sounds, or codified signals. Mowitt is particularly interested in the fact that beyond hearing and listening we "audit" sounds and do so by drawing on paradigms of thought not easily accommodated within the concept of "sound studies." To draw attention to the ways in which sounds often are not perceived for the social and political functions they serve, each chapter presents a culturally resonant sound—including a whistle, an echo, a gasp, and silence—to show how sounds enable critical social and political concepts such as dialogue, privacy, memory, social order, and art-making. Sounds: The Ambient Humanities significantly engages, provokes, and contributes to the dynamic field and inquiry of sound studies.

Exploring several dimensions of the problem of "film languages," this volume engages the complications inherent in the study of the "other" and investigates the intricate relationship between postcoloniality, national identity, ideology, and filmmaking. Author John Mowitt establishes how Eurocentrism sustains both the concept of the foreign language film and the flawed initiative of multiculturalism. Using bilingualism and the concept of foreign film language, Re-takes pushes film studies beyond both linguistics and psychoanalysis to resituate is within the networks of global cultural communication.Through close readings of the bilingual films of Senegalese filmmaker Sembene Ousmane and Bolivian filmmaker Jorge Sanjines, Mowitt articulates the poetics and politics of postcoloniality in the global cinematic field, and challenges film studies to reflect on the relation between its organizing analytical distinctions - national and foreign, textual and institutional - and its position within globalization. Examining how elements involved in bilingual films have implications for the way academic intellectuals classify and misappropriate cultural forms, Re-takes is a provocative intervention into ongoing discussions of the changing nature of film and media studies.

Rethinking the importance of Sigmund Freud’s landmark book The Interpretation of Dreams a century after its publication in 1900, this work brings together psychoanalysts, philosophers, cultural theorists, film and visual theorists, and literary critics from several continents in a compilation of the best clinical and theoretical work being done in psychoanalysis today. It is unique in convening both theory and practice in productive dialogue, reflecting on the encounter between psychoanalysis and the tradition of hermeneutics. Collectively the essays argue that Freud’s legacy has shaped the way we think about not only psychology and the nature of the self but also our understanding of politics, culture, and even thought itself. Contributors: Willy Apollon, Gifric; Karyn Ball, U of Alberta, Edmonton; Raymond Bellour, Centre National de la Recherche Scientifique; Patricia Gherovici, Philadelphia Lacan Study Group and Seminar; Judith Feher-Gurewich, New York U; Jonathan Kahana, New York U; A. Kiarina Kordela, Macalester College; Pablo Kovalovsky, Clinica de Borde; Jean Laplanche, U of Lausanne; Laura Marcus, U of Sussex; Andrew McNamara, Queensland U of Technology; Claire Nahon; Yun Peng, U of Minnesota; Gerard Pommier, Nantes U; Jean-Michel RabatÉ, Princeton U; Laurence A. Rickels, U of California, Santa Barbara; Avital Ronell, New York U; Elke Siegel, Yale U; Rei Terada, U of California, Irvine; Klaus Theweleit, U of Freiburg-im-Breisgau; Paul Verhaege, U of Ghent, Belgium; Silke-Maria Weineck, U of Michigan.  Catherine Liu is associate professor of comparative literature and film and media studies at the University of California, Irvine. John Mowitt is professor and chair of cultural studies and comparative literature at the University of Minnesota. Thomas Pepper is associate professor of cultural studies and comparative literature at the University of Minnesota. Jakki Spicer received her Ph.D. in cultural studies and comparative literature from the University of Minnesota.

The concept of textuality in recent decades has come to designate a fundamentally contested terrain within a number of academic disciplines. How it came to occupy this position is the subject of John Mowitt's book, a critical genealogy of the social and intellectual conditions that contributed to the emergence of the textual object.Beginning with the Tel Quel group in France in the sixties and seventies, Mowitt's study details how a certain interdisciplinary crisis prompted academics to rethink the conditions of cultural interpretation. Concentrating on three disciplinary projects-literary analysis, film studies, and musicology-Mowitt shows how textuality's emergence called into question not merely the relations among these disciplines, but also the cultural logic of disciplinary reason as such.At once an effort to define "the text" and to explore and extend the theory of textuality, this book illustrates why the notion of interdisciplinary research has recently acquired such urgency. At the same time, by emphasizing the genealogical dimension of the textual object, Mowitt raises the issues of its "antidisciplinary" character, and by extension its immediate pertinence for the current debates over multiculturalism and Eurocentrism.

Percussion is an attempt-in the author’s words-to make sense of "senseless beating," to grasp how rhythm makes sense in music and society. Both a scholar and a former professional drummer, John Mowitt forges a striking encounter between cultural studies and new musicology that seeks to lay out the "percussive field" through which beating-specifically the backbeat that defines early rock-and-roll-comes to matter for raced, urban subjects.For Mowitt, percussion is both an experience of embodiment-making contact in and on the skin-and a provocation for critical theory itself. In delimiting the percussive field, he plays drumming off against the musicological account of the beat, the sociological account of shock and the psychoanalytical account of fantasy. In the process he touches on such topics as the separation of slaves and drums in the era of the slave trade, the migration of rural blacks to urban centers of the North, the practice and politics of "rough music," the links between interpellation and possession, the general strike, beating fantasies, and the concept of the "skin ego."Percussion makes a fresh and provocative contribution to cultural studies, new musicology, the history of the body and critical race theory. It will be of interest to students of cultural studies and critical theory as well as readers with a serious interest in the history of music, rock-and-roll and drumming.

Percussion is an attempt—in the author’s words—to make sense of "senseless beating," to grasp how rhythm makes sense in music and society. Both a scholar and a former professional drummer, John Mowitt forges a striking encounter between cultural studies and new musicology that seeks to lay out the "percussive field" through which beating—specifically the backbeat that defines early rock-and-roll—comes to matter for raced, urban subjects.For Mowitt, percussion is both an experience of embodiment—making contact in and on the skin—and a provocation for critical theory itself. In delimiting the percussive field, he plays drumming off against the musicological account of the beat, the sociological account of shock and the psychoanalytical account of fantasy. In the process he touches on such topics as the separation of slaves and drums in the era of the slave trade, the migration of rural blacks to urban centers of the North, the practice and politics of "rough music," the links between interpellation and possession, the general strike, beating fantasies, and the concept of the "skin ego."Percussion makes a fresh and provocative contribution to cultural studies, new musicology, the history of the body and critical race theory. It will be of interest to students of cultural studies and critical theory as well as readers with a serious interest in the history of music, rock-and-roll and drumming.

A reading of Theory that in tracing when and where Theory arises in the event of reading proposes how Theory might best be handled in the context of higher education today. Arguing against those who propose to avoid Theory in the name of its putative obsolescence, this text sets out to challenge two aspects of this avoidance. On the one hand, Theory has been set aside in the name of identity politics, that is, the proposition that its intellectual pertinence has been overshadowed by a sense of political urgency construed as at odds with Theory. Theory itself has assumed an identity, a profile. On the other hand, implicit within the avoidance of Theory is a concept of “context” that calls for reflection. Resisting the tendency to treat context as either negligible or obvious, this text sets out to trace, in the when and where of Theory, the rudiments of a “sociographic” (think “historiographic”) account of context. In relation to it, the reading that is Theory can be usefully situated as part of a politics of higher education in the era of the global crisis of the university.

A reading of Theory that in tracing when and where Theory arises in the event of reading proposes how Theory might best be handled in the context of higher education today. Arguing against those who propose to avoid Theory in the name of its putative obsolescence, this text sets out to challenge two aspects of this avoidance. On the one hand, Theory has been set aside in the name of identity politics, that is, the proposition that its intellectual pertinence has been overshadowed by a sense of political urgency construed as at odds with Theory. Theory itself has assumed an identity, a profile. On the other hand, implicit within the avoidance of Theory is a concept of “context” that calls for reflection. Resisting the tendency to treat context as either negligible or obvious, this text sets out to trace, in the when and where of Theory, the rudiments of a “sociographic” (think “historiographic”) account of context. In relation to it, the reading that is Theory can be usefully situated as part of a politics of higher education in the era of the global crisis of the university.