There are plenty of reasons one might dread the coming of the year 2022. As a scholar of modernist literature and culture, I derive a particular form of professional dread at the prospect of the commemorative panels and Daily Telegraph articles celebrating the centenary of T.S. Eliot’s The Waste...
After Art shifts critical emphasis from art’s production (and the corollary of artistic intention) to what images do once they enter circulation in heterogeneous networks.
The world had entered a new crisis by 1933, the implications of which would echo for nearly three decades to follow: not just the crisis of the liberal state, or capitalist economy generally, and not only the imminent paroxysm of the political world system in world war. The threat was now to "man." In the introduction to his book, Mark Greif reconstructs the intellectual atmosphere of concern for humanity, history, faith, and technology, and reflects on the nature and function of the era's discourse.
My object is a multiculturalism without culture: a multiculturalism that dispenses with the reified notions of culture that feed those stereotypes to which so many feminists have objected, yet retains enough robustness to address inequalities between cultural groups; a multiculturalism in which the language of cultural difference no longer gives hostages to fortune or sustenance to racists, but also no longer paralyses normative judgment.