Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
B Definitions:
1. Should denotes an expectation of enacting a plan
American Heritage Dictionary 2000 (Dictionary.com)
should. The will to do something or have something take place: I shall go
out if I feel like it.
procedure shows that people agree on the issue at hand, then skipping the
discussion may save the group some efforts and reduce the risk of
polarization. Alternatively, a devils advocate could be introduced in
the group to defend an alternative opinion (e.g. Schweiger, Sandberg, &
Ragan, 1986).
K
The affirmatives ludic theorization of the world inherently
supports bourgeois ideology and forecloses materiality
their analysis is confined to mediation severed from the
economic ties critical to understanding social positions
and oppressive structures
Ebert 95 (Teresa, Professor of Humanities at the College of Arts
and Sciences at the University at Albany who specializes in
Critical and Cultural Theory, Feminist Critique, Marxist Theory and
Globalization Theory, (Untimely) Critiques for a Red Feminism
from Post-Ality, Marxism and Postmodernism, edited by Masud
Zavarzadeh, Teresa Ebert and Donald Morton,
https://www.marxists.org/reference/subject/philosophy/works/us/e
bert.htm)//meb
No matter how much ludic theorists try to erase questions of class, poverty
and the economic from their work, their analysis is haunted by the relations
of production and divisions of labour. We find this "return of the repressed" of the relations of production in
Butler's ludic analysis in the opening chapter of Bodies that Matter, in which she attempts to "discern the history of sexual difference encoded
in the history of matter" through a "rude and provocative" re-reading of Plato (54, 36). She begins by positing matter within the metaphysical
binary of matter and form, and confines her argument to this metaphysical circuit. But at two points in her text, when she attempts to explain
politics and social analytic any less reductive than the economic base? Yet,
while economic reductionism is to be avoided at all costs according to ludic
theories, a discursive reductionism or a theological matterism is widely
embraced as a complex, sophisticated, and open multiplicity. The issue here
is not whether "reductionism" is negative: it is not-ask any rigorous scientist (Weinberg, "Two Cheers for
Reductionism"). To articulate the relations connecting seemingly disparate events and phenomena is in fact a necessary and unavoidable part
of effective knowledge of the real. Rather the question is why are some reductions-
particularly those connecting the exploitation and gender division of labour to
the accumulation of capital-suppressed and rendered taboo in ludic (socialist)
feminism while other reductions-such as the discursive construction of
sex/gender or a matterist resistance as performance-are championed and
widely circulated? The answer, of course, does not lie in the "logic" of the argument, although that is the way it is commonly
represented. On a purely epistemological or logical level both moves establish a necessary relation between
two phenomena. Instead, the answer is in the economic, social and political
struggle for full social and economic emancipation . Marx and Engels' critique of the radical "Young
Hegelians" applies equally to ludic cultural materialists: they are only fighting against 'phrases.'
the relation of cultural practices to the "real existing world" -whose objectivity is
discursive,
for ludic
the fact of the "working day"-in order to transform it? Obviously this relation is a highly mediated one. But
feminists, however, cultural and ideological practices are not autonomous but
are instead primary sites for reproducing the meanings and subjectivities
supporting the unequal gender, sexual and race divisions of labour, and thus
a main arena for the struggle against economic exploitation as well as
cultural oppression. The untimely time of red feminism has come.
Theory must contribute to material changethe aff
forecloses theorys ability to cause material action. Their
characterization of performance as preferable to theory
essentializes experience and opposes knowledge
production for social change
Ebert 93 (Teresa, Professor of Humanities at the College of Arts
and Sciences at the University at Albany who specializes in
Critical and Cultural Theory, Feminist Critique, Marxist Theory and
Globalization Theory, Ludic Feminism, the Body, Performance,
and Labor: Bringing Materialism Back into Feminist Cultural
Studies https://www.jstor.org/stable/pdf/1354189.pdf)//meb
But first I need to address the question of theory. It has become customary , among ludic postmodernists, to dissociate oneself
from "theory ": theory is seen as an act of "totalizing" that, as I have already indicated,has become
synonymous in ludic cir- cleswith "totalitarianism." For instance, Judith Butler-who is, in spite of her disclaimers, one of the elite theorists-distances her-
self from theory by assuming the familiar pose of "ignorance" (which, of course, in ludic discourses is the genuine mark of "knowing"). She states, in a recent essay, that she "do[es] not understand the notion of
'theory,' and [is] hardly interested in being cast as its defender . . ." ("Imitation and Gender Insubor dination" 14). J. Hillis Miller, another elite theorist, regards him- self basically as a "local" reader-a producer of
pleasure or what he calls the 'joys of reading"-and claims that he is a "theorist" almost by accident; he practices theory, as the title of his most recent book indicates, only "now and then" (Theory Now and Then).
Similar acts of distancing have almost become part of a ludic ritual among those elite theorists who command considerable power and prestige in the academy precisely because they are theorists. Jane Gallop, for
example, prefaces her well-known book on Lacan by not only proclaiming her "inadequacy" and her "attempt to read (Lacan) from that position" but also granting it a special status as "both Lacanian and feminist"
theoretical in that it puts in question one notion of theory ) and (theory as explanatory critique
favors another (theory as play, as affirmation and not explana- tion). Since I oppose the notion of theory as play-affirmation of that which already exists-and argue for theory as explanatory
critique, I need to say more about the role of this "different" kind of theory that I am producing here. It is not enough to write a "different" theory if such differ- ence does not fundamentally challenge the way theory
build a more multicultural and equal socioeconomic order. But the "new" and "different" are easily commodified
in patriarchal capitalism as mere variety in a sup- posedly "free marketplace" of choice, thus promoting the illusion of diversity and free will and concealing the oppressive restric- tions on people's possibilities. In
two understandings of theory are not only related to each other but they also
contest each other in their assumptions and presuppositions and in the socio-
economic orders they legitimate. They are two contesting , in other words, not simply two different choices, but
theory as ma- terialist explanatory critique should not be just pluralistically ac- cepted as two (free) choices but
be a politically transforma- tive practice that not only disrupts the : one
phallogocentric, and as a form of instrumental reason . Above all theory is considered antithetical to women's experience
and thus betrays feminism. At the core of this controversy over theory is the issue of the relation of theory and experience- whether the humanist notion of the experience of the moral self (as in cultural feminism)
or the postmodern celebration of the experience of the ethical subject of pleasure, the jouissance of the body (as in ludic feminism).6 Much postmodern theory is, in fact, an "antitheoretical theory." We need only
look at Derrida's Post Card, Lyotard's Just Gaming, de Man's The Resistance to Theory, Gallop's Thinking through the Body, or Fish's Doing What Comes Nat- urally to see this opposition to theory as a phallogocentric
ratio nalism and the use of such "ludic" strategies as the play of tropes, parody, punning, autobiography (what Ulmer calls "mystory"), and anecdote to deconstruct theory, its concepts and principles. This
antitheoretical stance also informs ludic postmodern cultural studies as the anthology Cultural Studies demonstrates. In writing the afterword to the volume, in which she both sums up its major themes and
comments on the current state of cultural studies, Angela McRobbie celebrates "the absence of the tyranny of the- ory," which has been displaced by a "speculative 'writerly' approach" (Grossberg et al. 724).
dismissing the- ory as a masculinist and rationalist instrumentalism that acts as an abstract
critique of the politics of in- telligibility theory is most effectively . By this I mean
which we organize and make sense of reality, and the critical inquiry into and
contestation over these modes of meaning making. Practice is inscribed in theory as I am articulating it here. Thus
simply a metaphysical abstraction or discursive play. This means that even such a seemingly natural
and nonthe- oretical practice as common sense (as Gramsci argues in Prison Notebooks) is a frame of intelligibility, a theory, but one that con- ceals its mode of knowing, representing it as the "way things are."
theory
Theory, then, is not opposed to experience but is the necessary supplement of experience (to use Derrida's term in order to decon struct his deconstruction of theory):
historicizes experi- ence and displays the social relations that have enabled it
to be experienced as "experience." prevents us from essentializing Such a knowledge
produce new opposing theo- ries (contesting knowledges)-in short, to participate in the strug- gle over opposing ways of constructing and changing the world.
to produce opposing
To theorize postmodernism and difference in the terms I am proposing here is an instance of such a contestation over theory: an effort
according to gender . But this project has been put in question by postmodern theories that announce the end of transformative politics (indeed, the end of history itself) and sub-
studies de- voted to materialist politics-transformative social change- and indicate why I find
ludic or discursive politics ineffective for feminism I will thus use a materialist .
frame to engage both levels of politics: cultural politics (intervening in and changing cultural representations,
, the dominant
Jean-Francois Lyotard and Jean Baudrillard, with Derridean poststructuralists or Lacanian psychoanalysts, it has in- timated the end of transformative politics. In short
regard to gender, race, class, sexuality . This prevailing ludic postmodernism has so displaced and dis- credited politics as emancipation as to
make it nearly impossible. After Lyotard, Jacques Derrida, Michel Foucault, and such ludic feminists as Luce Irigaray, Alice Jardine, Susan Suleiman, and Donna Haraway, emancipation-the collective social struggle to
logic of contingency for the logic of social necessity . In doing so, it preempts any need for collective, organized social
transformation-any need, in other words, for emancipation, and more important, it dispenses with the necessity for organized so- cial and political revolution to overthrow dominant power rela- tions. All we need to
do, according to ludic postmodernists, is recognize and validate the multiplicity of local points of resistance power itself already generates. As a result, it is increasingly com- mon to call our age "postpolitical." The
new postmodern culture studies taking hold in the United States , Britain, and a number of
hegemonic . Obviously this position has widespread appeal for many feminist critics-especially for those who regard the affirmation of wom- en's experience, in and of itself, as the political basis
but we need to ask difficult and by now quite unpopular questions: What
for femi- nism-
is the effect of such validation? Does it affirm "what is" rather than critique
how these differences have been produced out of regimes of exploitation-and
perhaps support these regimes and even be "necessary" to their continued
exis- tence and domination? Can we afford to dispense with critique if we are
to transform these regimes and the differences they pro- duce? Is critique necessary to social struggle
and to a transforma- tive cultural studies? Instead of an interventionist critique, (ludic) postmodern cultural studies tends to focus on pleasure-pleasure in/of textu- ality, the local, the popular, and, above all, the
body (jouissance)-as in and of itself-a form of resistance. This is a "new generation" of intellectuals, according to Andrew Ross, who "appeal to the liberatory body, and the creativity of consumption" (11).
critique but in affirmative descriptions of local sites of pleasure . For instance, in Penley's popular studies
of a genre of Star Trek fan magazines (called "slash zines" because they eroticize and sexualize the relationship between Kirk and Spock and are designated by a code with a slash, "K/S") her "aim" is to "show" the
"range and diversity of identifications and object relations" in these texts because "once shown, it will then be pos- sible to give a fuller and more complex account of what women do with popular culture, how it
any at- tempt to "conceptualize as a violent erasure of the " experience or pleasure is seen by ludic critics
unique, local, specific, and con- crete individual : to conceptualize is to totalize and to totalize is seen, at all levels, as totalitarian.
This
specifically in commodity cultures, to consume the means for pleasure. It is also these classes who have the rel- ative luxury of displacing the body as means of labor onto the body as pleasure zone.
raise serious problems for feminist and oppo- sitional culture critique . It will not take us far in
understanding or explaining the socioeconomic conditions and desperation under- lying the uprising in Los Angeles or causing women in India to sell their kidneys and women in the United States to rent out their
uteruses in order to feed their children; nor will it help us much to intervene in and change these conditions. The verdict in the Rodney King trial-for many of us-was not a local, contingent, arbitrary, and aleatory
play of power; rather, it was part of the systematic exercise of inequality, injustice, and oppression against African Americans in this country. It urgently impresses on us the need not simply to "account for and
validate social differences" but to critique them in order to explain the underlying social re- lations of exploitation and to transform them. Perhaps I need to clarify here what I mean by critique. First, I do not regard
knowledge of the social totality : she or he acquires, in other words, an understand- ing of how the existing social institutions ("motherhood," "child care,"
Critique indicates, in other words, that what "is" is not necessarily the
real/true but rather only the existing actu- ality which is transformable. The role of critique
are in fact linked through the highly differentiated and dispersed operation of
a systematic logic of exploitation informing all practices of society critique . In sum,
if
contemporary feminists, from Haraway and Penley to Jane Gallop and Judith Butler, have embraced the ludic mode of postmodern cultural studies and argued for its liberatory potential. But I believe