One dimensional man
About: This article is published in Philosophical Books.The article was published on 1965-05-01. It has received 2842 citations till now.
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TL;DR: Social-Structural Analysis: Some Notes on Its History and Prospects as discussed by the authors, is a history of social-structural analysis with a focus on the relationship between social structures and social relations.
Abstract: (1984). Social-Structural Analysis: Some Notes on Its History and Prospects. The Sociological Quarterly: Vol. 25, No. 1, pp. 5-26.
23 citations
Cites background from "One dimensional man"
...Marcuse (1964) viewed the productive power of late industrial capitalism as bursting the economic barriers of private property itself; he saw its unlimited affluence and technical control as blurring the capitalist/socialist distinction and as anesthetizing potential conflict over economic roles....
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TL;DR: In this article, the authors discuss the evolution of Russian civil society during the presidency of Vladimir Putin and use a complex definitional prism that views civil society in terms of three independent but inextricably interconnected pillars.
Abstract: This article discusses the evolution of Russia's civil society during the presidency of Vladimir Putin. The paper utilises a complex definitional prism that views civil society in terms of three independent but inextricably interconnected pillars. It examines civil society as a kind of society, a part of society, and as a distinct public sphere as seen in the set of institutional norms and forms. The paper empirically challenges the existing conclusions in that the three spheres must develop in concert and cannot exist without a permanent fully-fledged interaction. The discussion reveals the unbalanced evolution of the three spheres in Russia and the potential problems that this situation might cause in the longer term. The paper also claims that, while the development of some of these spheres gives grounds for concern, others provide hopes for cautious optimism.
23 citations
Dissertation•
25 Sep 2012
TL;DR: This article explored the ways in which film viewers engage with and respond to movie constructions of the female serial killer, focusing closely upon the story of Aileen Wuornos, who was executed in 2002 for the murders of seven men.
Abstract: This project explores the ways in which film viewers engage with and respond to
cinematic constructions of the female serial killer, focusing closely upon the story of
Aileen Wuornos, who was executed in 2002 for the murders of seven men. Three
key film texts - Monster (Patty Jenkins, 2003), Aileen: The Selling of A Serial Killer
(Nick Broomfield, 1992) and Aileen: Life and Death of a Serial Killer (Nick
Broomfield, 2003) - are used as the basis for this study.
Arguing that the psychodynamic complexities of the spectatorial encounter are
inadequately theorised by many existing Screen theory and cultural studies
accounts, I conduct a series of in-depth free-association narrative/biographical
interpretive interviews (Hollway and Jefferson 2000a, Wengraf 2001) with fourteen
participants. In doing so, I demonstrate how individuals are psychosocially and
biographically motivated to “invest” in the three film texts on both conscious and
unconscious levels. Drawing upon object-relations psychoanalysis (and Kleinian
theory, in particular), I explore the unconscious anxieties, conflicts and phantasies
that also bear significantly upon my participants’ filmic investments. I find that these
investments are made meaningful in relation to dominant cultural ideologies and
“norms”, but that they are also powerfully informed by participants’ own biographical
experiences. This thesis therefore makes a valuable contribution to the field of
audience studies, by providing a more nuanced understanding of the film-viewing
process.
23 citations
Dissertation•
11 Nov 2015
TL;DR: In this paper, the authors argue that the ability to control, modify and limit social creation through the rights of ownership is the foundation of capital accumulation, and they use the concept of capital-as-power to understand how the largest Hollywood firms attempt to control social creativity.
Abstract: This dissertation combines an interest in political economy, political theory and cinema to offer an answer about the pace of the Hollywood film business and its general modes of behaviour. More specifically, this dissertation seeks to find out how the largest Hollywood firms attempt to control social creativity such that the art of filmmaking and its related social relations under capitalism do not become financial risks in the pursuit of profit. Controlling the ways people make or watch films, the thesis argues, is an institutional facet of capitalist power. Capitalist power—the ability to control, modify and, sometimes, limit social creation through the rights of ownership—is the foundation of capital accumulation. For the Hollywood film business, capitalist power is about the ability of business concerns to set the terms that mould the future of cinema.
The overall objective of Part I is to outline and rectify some of the methodological problems that obscure our understanding of how capital is accumulated from culture. Marxism stands as the theoretical foil for this argument. Because Marxism defines capital such that only economic activity can create value, it needs to clearly distinguish between economics and politics—yet this is a distinction it is ultimately unable to make. With this backdrop in mind, Part I introduces the capital-as-power approach and uses it as a foundation to an alternative political economic theory of capitalism. The capital-as-power approach views capital not as an economic category, but as a category of power. Consequently, this approach reframes the accumulation of capital as a power process.
Part II focuses on the Hollywood film business. It investigates how and to what extent major filmed entertainment attempts to accumulate capital by lowering its risk. The process of lowering risk—and the central role of capitalist power in this process—has characterized Hollywood’s orientation toward the social-historical character of cinema and mass culture. This push to lower risk has been most apparent since the 1980s. In recent decades, major filmed entertainment has used its oligopolistic control of distribution to institute an order of cinema based on several key strategies: saturation booking, blockbuster cinema and high-concept filmmaking.
[This thesis was nominated for the York University Dissertation Prize.]
23 citations
Dissertation•
05 Aug 2014
23 citations
References
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TL;DR: In this article, the authors examined accounts of travelers in terms of Erving Goffman's front versus back distinction and found that tourists try to enter back regions of the places they visit because these regions are associated with intimacy of relations and authenticity of experiences.
Abstract: The problem of false consciousness and its relationship to the social structure of tourist establishments is analyzed. Accounts of travelers are examined in terms of Erving Goffman's front versus back distinction. It is found that tourists try to enter back regions of the places they visit because these regions are associated with intimacy of relations and authenticity of experiences. It is also found that tourist settings are arrenged to produce the impression that a back region has been entered even when this is not the case. In tourist settings, between the front and the back there is a series of special spaces designed to accommodate tourists and to support their beliefs in the authenticity of their experiences. Goffman's front-back dichotomy is shown to be ideal poles of a continuum, or a variable.
2,627 citations
Book•
01 Jan 1995
TL;DR: Casey as discussed by the authors explored the effects of contemporary practices of work on the self and found that changes currently occuring in the world of work are part of the vast social and cultural changes that are challenging the meta trends of modern industrialism.
Abstract: Despite recent interest in the effects of restructuring and redesigning the work place, the link between individual identity and structural change has usually been asserted rather than demonstrated. Through an extensive review of data from field work in a multi-national corporation Catherine Casey changes this. She knows that changes currently occuring in the world of work are part of the vast social and cultural changes that are challenging the meta trends of modern industrialism. These events affect what people do everyday, and they are altering relations among ourselves and with the physical world. This valuable book is not only a critical analysis of the transformations occurring in the world of work, but an exploration of the effects of contemporary practices of work on the self.
540 citations
TL;DR: In this paper, the authors interpret critical urban theory with reference to four mutually interconnected elements: its theoretical character; its reflexivity; its critique of instrumental reason; and its emphasis on the disjuncture between the actual and the possible.
Abstract: What is critical urban theory? While this phrase is often used in a descriptive sense, to characterize the tradition of post‐1968 leftist or radical urban studies, I argue that it also has determinate social–theoretical content. To this end, building on the work of several Frankfurt School social philosophers, this paper interprets critical theory with reference to four, mutually interconnected elements—its theoretical character; its reflexivity; its critique of instrumental reason; and its emphasis on the disjuncture between the actual and the possible. On this basis, a brief concluding section considers the status of urban questions within critical social theory. In the early 21st century, I argue, each of the four key elements within critical social theory requires sustained engagement with contemporary patterns of capitalist urbanization. Under conditions of increasingly generalized, worldwide urbanization, the project of critical social theory and that of critical urban theory have been intertwined a...
356 citations
TL;DR: The authors provide an overview of the key images of identity in organizations found in the research literature, including self-doubters, strugglers, surfers, storytellers, strategists, stencils and soldiers.
Abstract: This article provides an overview of the key images of identity in organizations found in the research literature. Image refers to the overall idea or conceptualization, capturing how researchers relate to — and shape — a phenomenon. Seven images are suggested: self-doubters, strugglers, surfers, storytellers, strategists, stencils and soldiers. These refer to how the individual is metaphorically understood in terms of identity, that is, how the researcher (research text) captures the individual producing a sense of self. The article aims to facilitate orientation — or encourage productive confusion — within the field, encourage reflexivity and sharpen analytic choices through awareness of options for how to conceptualize self-identity constructions.
289 citations