This is the first in a series of notes to fifteen lectures for my class Culture and Communication. It is a significant rewrite of the earlier introduction that I used between 1999 and 2004. It is related to the development of my interest in education, "broadly defined," understood as cultural production
It is strongly suggested that the two articles "required" for today's class, be read before the mid-term exam. The reading by Dewey is particularly important to understand the historical continuities in the problematics of "culture" and "communication" that this course will challenge. My own article is useful as a general introduction to my attitude towards several of the overall issues we will be addressing. It was written for undergraduates in introductory courses in
Note that I am not defining a concept but indexing the kind of event we are concerned with
This is what all theories of culture, communication, education are about:
`And only one for birthday presents, you know. There's
glory for you!' `I don't know what you mean by "glory",' Alice said. Humpty Dumpty smiled contemptuously. `Of course you don't -- till I tell you. I meant "there's a nice knock-down argument for you!"' `But "glory" doesn't mean "a nice knock-down argument",' Alice objected. `When I use a word,' Humpty Dumpty said, in rather a scornful tone, `it means just what I choose it to mean -- neither more nor less.' `The question is,' said Alice, `whether you can make words mean so many different things.' `The question is,' said Humpty Dumpty, `which is to be master -- that's all.' (Lewis Carroll, Through the Looking Glass, Chapter 6 , 1865) |
|
Alice and Humpty Dumpty converse about conversation, language, meaning, sharing. He instructs her, she challenges, he counter-challenges, she yields, and yet she continues to question
|
These problems can be illustrated by looking carefully at the following set of pictures and questioning what we see and how we see, what we report to each other, and how we do this.
|
See also the animated version of these images to get a better sense of the transformations in the little girl's stance, as well as further discussion of how these images may help us clarify fundamental questions in communication theory. |
Now compare her final stance to the stance of two models as published in an advertisement of the same period.
Pictures taken from Paul Byers' "Cameras Don't Take Pictures." (1966) |
The similarities in these poses are striking. (Note the bends in the body, the way the head leans and the eyes look up, the thumb on the lip). (for more, see Goffman's Gender Advertisement, N.Y., Harper and Row,1974)
What are we to make of the changes in bodily and this similarity ? What are we to make of the possible changes in what advertisers consider alluring over the past 50 years?
These are the kind of question which are still being asked even as 50 years of research has greatly expanded our understanding and refined our debates