By Renate Holub
During this research, Renate Holub makes an attempt to reclaim Antonio Gramsci's concept from classical Marxism, as a substitute putting him in a broader ecu serious context, along the Frankfurt university, phenomenology, and sociolinguistics. Holub emphasizes Gramsci's affinities with the cultural theories of the Frankfurt university (Horkheimer, Bloch, Brecht, Benjamin), and in addition issues out the hyperlinks among Gramsci's linguistic and phenomenological varieties of wisdom. Holub conveys the conceptual and methodological complexity of his paintings, that is, the writer claims, appropriate to the development of today's severe concept.
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Extra info for Antonio Gramsci: Beyond Marxism and Postmodernism (Critics of the Twentieth Century)
28 BEYOND THE MODERN: LINGUISTICS AND PHENOMENOLOGY I have made it my purpose, in chapters 3 and 4, to show parallels of various kinds between German critical theory, primarily from the 1930s, and Gramsci’s intermittent notes on aspects of modernization and technologization as they affect society and culture. While Gramsci theorizes the impact of modern technology GRAMSCI AND CRITICAL THEORIES 19 on cultural production in ways that are often reminiscent of the Frankfurt School and those intellectuals who loosely identify with critical theory, Gramsci differs from that tradition on one crucial count: his interest in and knowledge of linguistics, which, along with his attention to the phenomenological interaction between language and the structure of the life-world, bring him close to those forms of critical theory that we know from the Soviet Union as well as from France.
14 This assignment looks something like this: as part of the cultural sphere, where many forms of ideologies are produced, re-produced, maintained, legitimated, marginalized, and silenced, literature and art function in specific and in interested ways. As part of that cultural sphere, literature and art entertain relations GRAMSCI, LUKÁCS AND MARXIST AESTHETICS 39 not only with the philosophical sphere, with intellectual history, with the realm of ideas and the realm of consciousness, but also with the political, and ultimately with the economic as well.
22 But let me say this: in the period from 1918 to 1926, Gramsci had a wide range of experiences. He had been one of the major leaders of the Italian working-class movement, not only organizing political struggles but, as editor of a major journal, the Ordine Nuovo, functioning as an organizer of the cultural and ideological struggle as well. 23 Apart from this, and given his interest in cultural institutions such as the press, the media and the theatre, it is possible that he had had some encounters with the most advanced theories and performances in the realm of theatre and film during his stay in Moscow (May 1922-November 1923).