By Ben Highmore
Michel de Certeau is turning into more and more regarded as a cultural theorist whose methodologies might rival these of Foucault. during this enticing e-book, Ben Highmore offers a stimulating account of Michel de Certeau's paintings and its relation to the sphere of cultural reviews. The e-book explores these elements of de Certeau's paintings that either problem and re-imagine cultural stories, highlighting the aptitude this paintings has for offering a serious epistemology and a realistic ethics for the learn of tradition in the arts and arts extra as a rule. Michel de Certeau: Analysing tradition offers a great creation to the paintings of this awesome and demanding philosopher.
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Additional resources for Michel De Certeau: Analysing Culture
For a more sustained enquiry into the consequences of this for cultural history see my Cityscapes: Cultural Readings in the Material and Symbolic City (Houndmills: Palgrave Macmillan, 2005), pp. 16–21. For an argument that wants to insist on the diﬀerence between de Certeau and Geertz see Chapter 4 of Ian Buchanan’s Michel de Certeau: Cultural Theorist (London: Sage, 2000). Shahid Amin, Event, Metaphor, Memory: Chauri Chaura 1922–1992 (Berkeley and Los Angeles: University of California Press, 1995).
One of the most succinct formulations of this idea is oﬀered by Walter Benjamin: The events surrounding the historian, and in which he [sic] himself takes part, will underlie his presentation in the form of a text written in invisible ink. The history which he lays before the reader comprises, as it were, the citations occurring in this text, and it is only these citations that occur in a manner legible to all. To write history thus means to cite history. 7 The existential condition of historical writing, which will be part of what will make de Certeau conceive of his historiography as ‘broken’ and as ‘interstitial’ (existing between the pressing conditions of the present and the alterity of the past), is joined with a more insistent challenge that has been dubbed ‘the linguistic turn’.
One of the promises that Mass-Observation made at this point was to suggest that for the new objects of attention (and for that matter the new subjects 24 25 In thinking about the multiple possible beginnings for cultural studies, and how these various beginnings determine multiple trajectories, I am drawing on Edward Said, Beginnings: Intention and Method (New York: Columbia University Press, 1985 ). For an account of Mass-Observation see my Everyday Life and Cultural Theory: An Introduction (London and New York: Routledge, 2002), Chapter 6.