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Showing posts from May, 2011

E.P. Thompson's 'Queen of The Humanities': Class Theory and Historical Materialism.

E.P. Thompson’sThe Poverty of Theory is a critique of Louis Althusser’s structuralist interpretation of Marxism and it’s relation to discipline of history. In this critique, Thompson defended his formulation of the materialist conception of history, the importance of historical analysis and an outline for the proper use of conceptual abstractions. Thompson’s theoretical framework, that favoured the “empirical idiom”, underpinned his historical work on the English working class. His discussion of working class experience between the 1780s to the early 1830s became a crucial reference point in the class theory of the Marxian tradition and generated much contention and debate with his assertion that class is neither a “structure” or “category”, but a “historical relationship” that is not reducible to economic relations. Thompson attempted to reintroduce human agency into the study of class and redress the failings of economic reductionism that stemmed from the base-superstructure mod…


From an essay written quite some time ago, but I thought i'd draw attention to it:

"The punk sub-cultural style developed in a social malaise of urban youth suffering from unemployment and marginalisation, they reacted by exercising their power to offend and disrupt the social order (Hebdige, 1988, p. 18). "Fuck" and "Cunt", words eschewed by mainstream culture as highly offensive obscenities were a stock standard of punk lyrics and publications (Triggs, 2006, p. 73). This represented an affront to the cultural norms and practices of the mainstream culture and legitimate language used by the respectable classes."

The lecturer had ticked all the way down the side, somtimes twice - no ticks for this part, but still....

Hemingway on Writers.

From Hemingway's 'Death in the Afternoon':

"If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured, or well-bred, is merely a popinjay. And this too, remember: a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl."