Although ghetto fiction is concerned with the geographical peripheries of white metropolis, its long-term strategy is to effect a radical restructuring of cityscape. This is not to state a criticism of neocolonial val...Although ghetto fiction is concerned with the geographical peripheries of white metropolis, its long-term strategy is to effect a radical restructuring of cityscape. This is not to state a criticism of neocolonial values upon which the city is built in opposition to the ghetto but rather of demonstrating the extent to which the white city and the ghetto are already deeply implicated within each other. In a ghetto novel, the white city is the subtext that we must recover, because history of ghetto formation itself is the subject of its discourse. Revaluation of the ghetto prepares us for later attempts to revive an urban and ＂ghettocentric＂ American identity. In contrast to some ghetto fiction where the ghetto is denounced as a place adverse to emancipatory ＂progress＂, Nicholasa Mohr＇s literary ghetto in Nilda （I 986） is not a narrative reinforcing the stereotypical representations of how racioethnic urban life and violent crime define each other. It is not, in other words, a location of unproblematic inherited identities but a place where orientations and identifications are negotiated.展开更多
Setting out from the categories of totality and histori（ci）sm in Kosik＇s Dialectics of the Concrete, we look at the relationship between theory and praxis： empty, abstract totality versus concrete, reified and ali...Setting out from the categories of totality and histori（ci）sm in Kosik＇s Dialectics of the Concrete, we look at the relationship between theory and praxis： empty, abstract totality versus concrete, reified and alienated practice （Lukacs, Habermas, Honneth）; a bad totality, in which the real polydimensional subject is replaced by the one-dimensional, mythologized, fetishized, and economistically reduced ＂subject＂ of consummation （Marcuse, Baudrillard）. The dialectics of concrete totality implies a marxistic critique of the ethical and juristic universalism, in the context of the ＂positive＂ side of globalization and political unilateralism, as a concrete, militant, hegemonistic, post-colonial, and neo-imperial practice （Apel, Habermas, Chomsky, Zinoviev）; globalization as totali（tari）zation, the ＂last man,＂ the ＂end of history,＂ and the ＂end＂ of dialectics in its neo-liberal, eschatological, empty ideological ＂realization＂ （Hegel, Marx, Fukuyama, Arendt）; the totality of the （invariable） being as a pseudo-concrete and pseudo-dialectical ontologistic speculation （Heidegger）： A ＂return＂ to a concrete history and a return of the ＂positive＂ dialectics as a critical awareness, mind, and method in the discourse ＂game＂ of human＇s cognitive, creative, and practical powers. The assumption of Kosik＇s humanism is a synchrony of nature and history in the ＂absolute＂ totality of human＇s concrete existence （Lukacs, Goldmann, Adorno, Sartre, Kosik）.展开更多
文摘Although ghetto fiction is concerned with the geographical peripheries of white metropolis, its long-term strategy is to effect a radical restructuring of cityscape. This is not to state a criticism of neocolonial values upon which the city is built in opposition to the ghetto but rather of demonstrating the extent to which the white city and the ghetto are already deeply implicated within each other. In a ghetto novel, the white city is the subtext that we must recover, because history of ghetto formation itself is the subject of its discourse. Revaluation of the ghetto prepares us for later attempts to revive an urban and ＂ghettocentric＂ American identity. In contrast to some ghetto fiction where the ghetto is denounced as a place adverse to emancipatory ＂progress＂, Nicholasa Mohr＇s literary ghetto in Nilda （I 986） is not a narrative reinforcing the stereotypical representations of how racioethnic urban life and violent crime define each other. It is not, in other words, a location of unproblematic inherited identities but a place where orientations and identifications are negotiated.
文摘Setting out from the categories of totality and histori（ci）sm in Kosik＇s Dialectics of the Concrete, we look at the relationship between theory and praxis： empty, abstract totality versus concrete, reified and alienated practice （Lukacs, Habermas, Honneth）; a bad totality, in which the real polydimensional subject is replaced by the one-dimensional, mythologized, fetishized, and economistically reduced ＂subject＂ of consummation （Marcuse, Baudrillard）. The dialectics of concrete totality implies a marxistic critique of the ethical and juristic universalism, in the context of the ＂positive＂ side of globalization and political unilateralism, as a concrete, militant, hegemonistic, post-colonial, and neo-imperial practice （Apel, Habermas, Chomsky, Zinoviev）; globalization as totali（tari）zation, the ＂last man,＂ the ＂end of history,＂ and the ＂end＂ of dialectics in its neo-liberal, eschatological, empty ideological ＂realization＂ （Hegel, Marx, Fukuyama, Arendt）; the totality of the （invariable） being as a pseudo-concrete and pseudo-dialectical ontologistic speculation （Heidegger）： A ＂return＂ to a concrete history and a return of the ＂positive＂ dialectics as a critical awareness, mind, and method in the discourse ＂game＂ of human＇s cognitive, creative, and practical powers. The assumption of Kosik＇s humanism is a synchrony of nature and history in the ＂absolute＂ totality of human＇s concrete existence （Lukacs, Goldmann, Adorno, Sartre, Kosik）.
