Raids on Human Consciousness: Writing, Anarchism, and Violence
However one looks at violence -- as an instrument of bureaucracy or ideology; as a product of racial, gender, or class antagonisms; or as the inevitable result of power politics -- it is an integral part of every social system and is one of the most pressing problems of our tortured century.
In Raids on Human Consciousness Arthur Redding examines the contention that violence, be it the mass product of revolutionary uprising or a private sadomasochistic indulgence, may be taken to instill in those who commit it the capacity for radical change.
Conscious that mainstream theory considers violence deviant, a departure from the normal equilibrium of social and aesthetic structures, while other critiques take it to be integral to any dynamic system, Redding begins with the anarchist inquiry into the relationship of violence to the imaginary representation of modern communities. He explores the "public images" of anarchism in literature and popular culture and emphasizes the diverse strategies by which modern writers encounter, derive, deflect, and manipulate fantasies of political violence.
Redding recognizes that language fails when confronted with the extreme suffering of human bodies. Acknowledging that flesh is subject to war, torture, and everyday brutality -- violations to which language can never do justice -- he nonetheless finds it urgent to reclaim language on the far side of suffering.
Results 1-3 of 38
Though Homberger does not make the argument , it might strengthen his reading
to point out that betrayal was displaced onto the female character as a way ,
perhaps , for London to exorcise and condemn his own ambivalence . Such are
If Conrad is condemned to murder possibility in the figure of Winnie , as a “
character , ” she nonetheless outmaneuvers the condemnation of her creator . In
fact , Winnie becomes the stereotypical " tragic figure ” of the novel , for it is she
Lenin , we know , condemned and purged “ petit bourgeois ” anarchist
tendencies ; his political project was curiously aped by Maksim Gorky ' s
characterization of Dostoevsky ( with special reference to The Possessed ) as a “
moral plague and ...