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            "note": "<p>pg 595-597: Style as signifying practice</p>\n<p>As Hebdige says before, really understanding subculture through semiotics is difficult because the way they shift. \"Any attempt at extracting a final set of meanings from the seemingly endless, often apparently random, play of signifiers in evidence here seems doomed to failure.\" (595)</p>\n<p><br />DH looks to Kristeva's work on \"poetic language\" as a space where the position of the speaking subject in discourse matters more than the system of langauge (parole rather than langue).</p>\n<p>Punks, DH argues, \"dislocated themselves dfrom the parent ucltur and were positioned instead on the outside\" lingustically as well as stylistically. (596)</p>\n<p>Subculture, DH concludes, \"can be used as a means of escape, of total detachment from the surrounding terrain, or as a way of fitting back into it and settling down after a weekend or evening spent letting off steam. In most cases it is used, as Phil Cohen suggests, magically to achieve both ends. However, despite these individual differences, the members of a subculture must share a common language.\" (597)</p>\n<p>&nbsp;</p>",
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            "note": "<p>pg 590-591: Style as Intentional Communication</p>\n<p>Style in subculture is INTENTIONAL, it is cultivated to mark the subculture as \"outsider\" , \"In this way they go against the grain of a mainstream culture whos principal defining characteristic, according to Barthes, is a tendency to masquerade as nature, to subsitute 'noramalized' for historiacl forms, to translate the reality of the world into an image of the world which in turn presents itself as if composed according to 'the evident laws of the natural order' (Barthes 1972)\" (Hebdige 591).</p>",
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            "note": "<p>pg 589-590: Ideology works to recuperate subcultures via the \"folk devil\" hysteria sure, but this is overstated. In most cases the response is more ambivalent.</p>\n<p>\"Two basic strategies have been evolved for dealing with this threat. First, the Other can be trivialized, naturalized, domesticated. Here, the difference is simply denied [590] ('Otherness is reduced to sameness'). Alternatively, the Other can be transformed into meaningless exotica, a 'pure object, a spectacle, a clown' (Barthes 1972). In this case, the difference is consigned to a place beyond analysis.\"</p>",
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            "note": "<p>pg 588: Once a subculture emerges, the response to it by \"a wave of hysteria\" that is ambivalent--\"it fluctuates between dread and fascination, outrage and amusement.\"</p>\n<p>\"Style in particular provokes a double response: it is alternately celebrated (in the fashion page) and ridiculed or reviled (in those articles which define subcultures as social problems).\"<br /><br />The \"shock\" that subcultures represent is dealt with in two ways:<br />\"1) The conversation of subcultural signs (dress, music, etc.) into mass-produced objects (i.e. the commodity form) 2) the 'labeling' and re-definition of deviant behaviour by dominant groups - the police, the media, the judiciary (i.e. the ideological form).</p>",
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            "note": "<p>pg 587: \"Subcultures represent 'noise' (as opposed to sound):  interference in the orderly sequence which leads from real events and  phenomena to their representation in the media. ...a kind of temporary  blockage in the system of representation...\"<br /> <br /> \"...spectacular subcultures express forbidden contents (consciousness of  class, consciousness of difference) in forbidden forms (transgressions  of sartorial and behavioural codes, law breaking, etc.) They are profane  articulations, and they are often and significantly defined as  'unnatural'...\"</p>",
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            "note": "<p>pg 593-595: Style as Homology<br /><br />Homology is the principle in biology that shows how different organs in different species have the same underlying structure (a bat wing, a seal flipper, the human hand) owing to a common ancestor.</p>\n<p>\"...contrary to the popular myth which presents subcultures as lawless forms, the internal structure of any particular subculture is characterized by an extreme orderliness: each part is organically related to other parts and it is through the fit between them that the subcultural member makes sense of the world\" (593) --&gt; meaning, the different parts of a subculture (fashion, sounds, attitudes, politics) all have a common structure that make those things fit together to form \"a way of life\"</p>\n<p>&nbsp;</p>\n<p>\"There was a homological relation between the trashy cut-up clothes and spiky hair, the pogo and amphetamines, the spitting, the vomiting, the format of the fanzines, the insurrectionary poses and the 'soulless', frantically driven music. The punks wore clothes which were the sartorial equivalent of swear words, and they swore as they dressed - with calculated effect, lacing obscenities into record notes and publicity releases, interviews and love songs.\" (593).</p>\n<p><br />They coalesced around the idea that \"the forbidden is permitted, but by the same token, nothing, not even these forbidden signifiers (bondage, safety pins, chians, hair dye, etc.) is sacred and fixed\" (594).</p>\n<p>THIS LACK OF FIXITY makes punk hard to define, or to attribute to any \"root cause.\"</p>\n<p>\"Certain semiotic facts are undeniable. The punk subculture like every other youth culture, was constituted in a series of spectacular transformations of a whole range of commodities, values, common sense attitudes, etc. It was through these adapted forms that certain sections of predominantly working-class youth were able to restate their opposition to dominant values and forms</p>",
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            "note": "<p>pg 588-89: The Commodity Form:</p>\n<p>It's difficult to make a clean distinction between an active subculture and a commodified one--since subcultures of all sorts largely define themselves by consumption practices. However, within subcultures that line is one that is relentlessly reinforced, even if nobody knows where it is.</p>\n<p>\"....As soon as the original innovations which signify 'subculture' are translated into commodities and made generally available, they become 'frozen'. Once removed from their private contexts by the small entrepreneurs and big fashion interest who produce them on a mass scale, they become codified, made comprehensible, rendered at once public property and profitable merchandise.\"</p>\n<p>\"Youth cultural styles may begin by issuing symbolic challenges, but they must inevitably end by establishing new sets of conventions; by creating new commodities, new industries or rejuvenating old ones..\"</p>",
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            "note": "<p>pg 120-122: First, understand that Orientalism is more than just ideas.</p>\n<p>\"Orientalism is not a mere political subject matter or field that is reflected passively by culture, scholarship, or institutions; nor is it a large and diffuse collection of texts about the Orient; nor is it representative and expressive of some nefarious 'Western' imperialist plot to hold down the 'Oriental' world\" (120).</p>\n<p>RATHER, Orientalism does discrete things:</p>\n<ul><li> transfers geopolitical awareness into TEXTS</li>\n<li>Elaborates &amp; reiterates a series of interests that create a sense of the world bifurcated into \"orient and occident\"</li>\n<li>and an INTENTION to reinforce a system of power and domination within that bifurcated worldview.</li>\n</ul><p> </p>\n<p>Thus, we need to understand that Orientalism, and the colonialism and imperialism that spring from it, \"governs an entire field of study, imagination, and scholarly institutions - in such a way as to make its avoidance an intellectual and historical impossibility.\" (121).</p>\n<p> </p>\n<p>SO what Said is calling for is a recognition of this contextual ground, so that \"each humanistic investigation must formulate the nature of that connection [the connection between culture and politics] in the specific context of the study, the subject matter, and its historical circumstances\" (122).</p>",
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            "note": "<p>pg 117-120:The distinction between pure and political knowledge:</p>\n<p>In the West, we have a sense that \"true knowledge\" is apolitical.</p>\n<p>\"The determinining impingement on most knolwedge produced in the contemporary West...is that it be nonpolitical, that is, scholarly, academic, impartial, above partisan or small-minded doctrinal belief. One can have no quarrel with such an ambition in theory, perhaps, but in practice the reality is much more problematic\" (118).</p>\n<p>This is problematic, Said argues, because knowledge is inevitably produced by people, who are situated in historical and social positions, into economic classes, into political territories, modes of thought, and histories.</p>\n<p>So what happens with these two opposing concepts? According to Said,<strong> \"the general liberal consensus that 'true' knowledge is fundamentally non-political (and conversely, that overtly political knowledge is not 'true' knowledge) obscures the highly if obscurely organized political circumstances obtaining when knowledege is produced\" (118). </strong></p>\n<p>In other words, when we pretend that knowledge isn't influenced by politics, we cover over all the political processes and presuppositions (like Orientalism!) that structure our thought.</p>\n<p> </p>\n<p>\"All academic knowledge about India and Egypt is somehow tinged and impressed with, violated by, the gross political fact...for if it is true that no production of knowledge in the human sciences can ever ignore or disclaim its author's involvement as a human subject in his own circumstances, then it must also be true that for a European or American studying the Orient there can be no disclaiming the main circumstances of <em>his</em> actuality: that he comes up against the Orient as a European or American first, as an individual second. And to be a European or an American in such a situation is by no means an inert fact. It meant and means being aware, however dimly, that one belongs to a power with definite interests in the Orient, and more important, that one belongs to a part of the earth with a definite history of involvement in the Orient almost since the time of Homer\" (119).</p>\n<p> </p>",
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            "note": "<p>pg 114-117: What does Orientalism do?</p>\n<p><br />The first thing Said argues is that what \"the Orient\" refers to is not simply \"natural,\" not *just* an area of the world. Perhaps more importantly, it is <strong>socially constructed</strong>, \"an idea that has a history and a tradition of thought, imagery, and vocabulary that have given it a reality and presence in and for the West.\" That is to say, its construction is not \"accidental\" or \"spontaneous,\" but reflects historically- and politically-contingent interests of Western imperialists.</p>\n<p>Also, like Gramsci and Althusser, Said refuses to accept the idea of ideology as \"false consciousness.\" Said argues that \"one never ought to assume that the structure of Orientalism is nothing more than a structure of lies or of myths which, were the truth about them to be told, would simply blow away\" (115). Rather, Said argues, Orientalism is <strong>material</strong>, a\"a created body of theory and practice in which, for many generations, there has been considerable material investment\" (115)</p>\n<p>PG 116 -&gt; nice gloss of Gramsci's concept of hegemony</p>\n<p>\"It is hegemony, or rather the result of cultural hegemony at work, that gives Orientalism the durability and the strength I have been speaking about so far...it can be argued that the major component of European culture is precisely what made that culture hegemonic both in and outside Europe: the idea of European identity as a superior one. There is in addition the hegemony  of European ideas about the Orient, themselves reiterating European superiority over Oriental backwardness, usually overriding the possibility that a more independent, or more skeptical, thinker might have had different views on the matter\" (116).</p>",
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            "note": "<p>pg 111-112: Said is interested in thinking about the construction of \"the Orient\" as a sort of fantasy that brings order to \"the West's\" conceptualization of the world AND as an ideology that structures material practices (like colonialism, war, occupation, etc).</p>\n<p>\"The Orient was almost a European invention, and had been since activity a place of romance, exotic beings, haunting memories and landscapes, remarkable experiences. [...] <em>Orientalism</em>, a way of coming to terms with the Orient that is based on the Orient's special place in European Western experience\" (111).</p>\n<p><br />Remember that \"the Orient\" isn't just an idea to Europe and \"the West\" -- it was, and is, also the site for enormously profitable colonies, philosophical and technological knowledge that have been adopted, and adapted, by the West, and the site of some of the West's greatest \"Others\" to be feared and excluded.</p>\n<p>\"The Orient is an integral part of European <em>material</em> civilization and culture. Orientalism expresses and represents that part culturally and even ideologically as a mode of discourse with supporting institutions, vocabulary, scholarship, imagery, doctrines, even colonial bureaucracies and colonial styles\" (112).</p>",
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            "note": "<p>pg 112-114: What does \"Orientalism\" mean to Said?</p>\n<p>Said says there are several concepts to which the term \"Orientalism\" refers, which are somewhat discrete but all interconnected.</p>\n<p><br />First, \"Orientalism\" refers to <strong>an academic tradition</strong> in which people teach, write, research and study \"the Orient.\" It may have been renamed to \"Oriental studies\" or \"Middle Eastern/South Asian\" studies, but it still has a shared history and a shared vocabulary with the elder category (pg 112). Remember that this academic tradition comes from Western/European institutions, mindsets, and contexts.</p>\n<p>Second, \"Orientalism\" refers to <strong>\"a style of thought based on an ontological and epistemological distinction made between 'the Orient' and 'the Occident'\" (112). </strong>Remember, \"ontological\" refers to ways of \"being\" or \"existence\" and \"epistemological\" refers to \"knowledge.\" In other words, \"Orientalism\" relies on a conceptualization of the world that splits the world between two \"ways of being\" and two \"ways of knowing\" -- the \"Eastern\" and the \"Western.\" It doesn't just exist in one particular academic tradition, Said argues, but everywhere--poets, artists, political thinkers and everyday joes all participate in the constant reiteration of this primary division.</p>\n<p>Third, starting with the late eighteenth century, Orientalism came to mean <strong>\"the corporate institution for dealing with the Orient--dealing with it by making statements abou tit, authorizing views of it, describing it, by teaching it, settling it, ruling over it: in short, Orientalism as a Western style for dominating, restructuring, and having authority over the Orient\" </strong> (113). Keep in mind that this doesn't just mean \"management\" like the guy in charge of a Foot Locker, it's not just \"watching over the Orient\" but actually CREATING the Orient out of geographic and societal locations that were a) internally diverse and b) not necessarily totally different from \"the West.\"</p>\n<p>\"European culture was able to manage - <strong>and even produce</strong> -- the Orient politically, socialogically, militarily, ideologically, scientifically, and imaginatively during the post-Enlightenment period\" (113). It it isn't necessarily DETERMINANT on all writing or thinking of these areas, but it is inevitably INFLUENTIAL.</p>\n<p>Fourth, and finally, Said argues that Orientalism is a <strong>historical vision</strong> of a geo-political region. \"To speak of Orientalism therefore is to speak mainly...of a British and French cultural enterprise, a project whose dimensions take in such disparate realms as the imagination itself, the whole of India and the Levant, the Biblical texts and the Biblical lands, the spice trade, colonial armies and a long tradition of colonial administrators, a formidable scholarly corpus, innumerable Oriental 'experts' and 'hands,' and Oriental professoriate, a complex array of 'Oriental' ideas (Oriental despotism, Oriental splendor, cruelty, sensuality) many Eastern sects, philosophies, and wisdoms domesticated for local European use - the list can be extended more or less indefinitely.\"  (113).</p>",
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            "note": "<p><strong>Pg 265 – </strong>“Any opportunities for positive change that arise from this crisis [the crisis of “race” in the face of science that shows it to be discursive] are circumscribed by the enduring effects of past catastrophe. Raciology has saturated the discourses in which it circulates. It cannot be readily re-signified or de-signified.<strong><br /> <br /> </strong></p>\n<p><strong>Pg 266: </strong>For some reason Gilroy is convinced that it’s “minorities” that need to let go of “race,” and argues it is important because it allows “a chance to break away from the dangerous and destructive patterns that were established when the rational absurdity of ‘race’ was elevated into an essential concept. (267).</p>\n<p>&nbsp;</p>\n<p><strong>Pg 268:</strong> argues that race effects white people too, and rejecting it could provide a non-gendered ‘humanity’ as an alternative for liberational politics.</p>\n<p>&nbsp;</p>\n<p><strong>Pg 271</strong> Argues that the cultivation of human life (cells) from outside “raced” bodies lets us rethink our own conception of “life” as one that is entirely divorced from “race.”&nbsp; Similarly, “race” has become a consumer commodity (Virtual insanity, brah!), as Gilroy discusses on 272 and 273.</p>\n<p>&nbsp;</p>\n<p><strong>Pg 276:</strong> Holds up South Africa as a place where race has been ‘transformed’ as a way of saying it can occur elsewhere. Not so sure that holds up so well.</p>\n<p><br /> <strong>Pg 277:</strong> The “naturalization” or “ideology” of race (bottom)</p>\n<p><br /> <strong>Pg 278-279:</strong> some clarifications and caveats. “America’s distinctive patterns of color consciousness may not be anything other than a fetter on the development of the planetary market in health, fitness leisure and sports products” <a href=\"../../../../zotero.jar%21/content/zotero/tinymce/note.html\">http://www.youtube.com/watch?v=cOxOR3x8FBQ</a></p>\n<p><strong>Pg 280 – </strong>“racism without Racists”</p>",
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            "note": "<p>pg 173: READING DETERRITORIALIZES--explain this term.</p>\n<blockquote>\n<p>The reader produces gardens that miniaturize and collate a world, like a Robinson Crusoe discovering an island; but he, too, is \"possessed\" by his own fooling and jesting that introduces plurality and difference into the written system of a society and a text. He is thus a novelist. He deterritorializes himself, oscillating in a nowhere between what he invents and what changes him. Sometimes, in fact, like a hunter in the forest, he spots the written quarry, follows a trail, laughs, plays tricks, or else like a gambler, lets himself be taken in by it. Sometimes he loses the fictive securities of reality when he reads: his escapades exile him from the assurances that give the self its location on the social checkerboard..</p>\n</blockquote>",
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            "note": "<p>pg 172: Reading is thus situated at the point where social stratification (class relationships) and poetic operations (the practitioner's constructions of a text) intersect: a social hierarchization seeks to make the reader conform to the \"information\" distributed by an elite (or semi-elite); reading<br />operations manipulate the reader by insinuating their inventiveness into the cracks in a cultural orthodoxy.</p>",
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            "note": "<p>pg 170-71: Reading only exists as a relation between text and readers</p>\n<blockquote>\n<p>Whether it is a question of news-papers or Proust, the text has a meaning only through its readers; it changes along with them; it is ordered in accord with codes of<br />perception that it does not control. It becomes a text only in its relation to the exteriority of the reader, by an interplay of implications and ruses between two sorts of \"expectation\" in combination: the expectation that ((171)) organizes a readable space (a literality), and one that organizes a procedure necessary for the actualization of the work (a reading).</p>\n</blockquote>\n<p>OFFICIAL meanings as constructed by class/power interests:</p>\n<blockquote>\n<p>The fiction of the \"treasury\" hidden in the work, a sort of strong-box full of meaning, is obviously not based on the productivity of the reader, but on the social institution that overdetermines his relation with the text.]$ Reading is as it were overprinted by a relationship of forces (between teachers and pupils, or between producers and consumers) whose instrument it becomes. The use made of the book by privileged readers constitutes it as a secret of which they are the \"true\" interpreters. It interposes a frontier between the text and its readers that can be crossed only if one has a passport delivered by these official interpreters, who transform their own reading (which is also a legitimate one) into an orthodox \"literality\" that makes other (equally legitimate) readings either heretical (not \"in conformity\" with the meaning of the text) or insignificant (to be forgotten). From this point of view, \"literal\" meaning is the index and the result of a social power, that of an elite.</p>\n</blockquote>",
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            "note": "<p>pg 167: First explicit challenge of the notion of consumption as passive.</p>\n<blockquote>\n<p>The efficiency of production implies the inertia of consumption. It produces the ideology of consumption–as–a–receptacle. The result of class ideology and technical blindness, this legend is necessary for the system that distinguishes and privileges authors, educators, revolutionaries, in a word, \"producers,\" in contrast with those who do not produce. By<br />challenging \"consumption\" as it is conceived and (of course) con-firmed by these \"authorial\" enterprises, we may be able to discover creative activity where it has been denied that any exists, and to relativize the exorbitant claim that a certain kind of production (real enough, but not the only kind) can set out to produce history by \"informing\" the whole of a country.</p>\n</blockquote>\n<p>So argues notion of \"passive consumers\" is a fundamentally CLASSED one.</p>",
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            "note": "<p>pg 166: Re-thinking consumption:</p>\n<blockquote>\n<p>Even protests against the vulgarization/ vulgarity of the media often depend on an analogous pedagogical claim; inclined to believe that its own cultural models are necessary for the people in order to educate their minds and elevate their hearts, the elite upset about the \"low level\" of journalism or television always assumes that the public is moulded by the products imposed on it. To assume that is to misunderstand the act of \"consumption.\"</p>\n</blockquote>\n<p> </p>\n<p>Reading and \"Enlightenment\"</p>\n<blockquote>\n<p>In the eighteenth century, the ideology of the Enlightenment claimed that the book was<br />capable of reforming society, that educational popularization could transform manners and<br />customs, that an elite's products could, if they were sufficiently widespread, remodel a whole<br />nation. This myth of Education inscribed a theory of consumption in the structures of<br />cultural politics. To be sure, by the logic of technical and economic development that it<br />mobilized, this politics was led to the present system that inverts the ideology that formerly<br />sought to spread \"Enlightenment.\" The means of diffusion are now dominating the ideas they<br />diffuse. The medium is replacing the message.</p>\n</blockquote>",
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            "note": "<p>pg 042: Hall argues that in order to be \"worldly\" (and not just a practice centered on the UK, headed by mostly white men, etc)--it needs to \"learn to live with this tension\" between engaging with texts and engaging with the worldly conditions of race, class, corporation, groups, institutions, publics, genders, sexualities, etc.</p>\n<p><br />If it can't do that, he argues, the political project of Cultural Studies has failed.</p>\n<p> </p>\n<p>Uses AIDS as an example of the tension--that it is a POLITICAL problem, with real material consequences...but it is also a CULTURAL one. So Cultural Studies needs to work on both at the same time, and be self-critical at all times, not self-congratulatory.</p>\n<p>In that way the institutionalization of cultural studies in the US is dangerous--having so much praise and money thrown at it (in the 1980s and 1990s, anyway)...it gets complacent, self-satisfied, it abdicates its responsibilities.</p>",
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            "note": "<p>pg 039-40: describes the \"interruptions\" and contributions of feminism and race/ethnicity studies to the development of cultural studies. He cops to his own patriarchal impulses here in a way that's pretty admirable, imho.</p>",
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            "note": "<p>pg 037: Describes theory as \"wrestling with angels\"--his point is that cultural studies work with Marxism was not because they were all indoctrinated into this method of thought. It's actually just the opposite. It's their work in *struggling with* and *critiquing* existing Marxist thought that caused them to use Marxism in a new way...this is the importance of Gramsci.AC</p>\n<p> </p>",
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            "note": "<p>pg 036: Hall discusses cultural studies relationship to the breakdown of traditional Marxist literary criticism and the waning popularity of Marxist politics in the UK (ditto for the US).</p>\n<p>Cultural studies wanted to think about Marxist questions (the status of power, of domination, of relations among classes) y talking about things that Marxism itself rarely talked about - culture, language, art--the stuff that was thought of as pure \"window dressing.\" Add into that the concerns of Eurocentrism in Marxist thought,</p>",
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            "note": "<p>pg 035: Argues that while cultural studies is diverse, has multiple histories, multiple methods, multiple positions within it, it is not totally unbounded--it has some definitive characteristics, notably \"some will to connect\" and \"some stake in the choices it makes.\" In other words, for Hall, Cultural Studies isn't just intellectual wankery--its always supposed to be *political,* in the broadest definition of that term--it doesn't have to have any particular political positions, but its work always has to matter in some real way. It has to get its hands dirty.</p>\n<p>For Hall, he sees that status as endangered, and he wants to go back through his own biography to discuss that development.</p>",
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            "note": "<p>pg 086-87.</p>\n<p>7) Pleasure. \"The Text is linked to delectation, i.e., to pleasure without separation.... the text fulfills if not the transparency of social relations, at least the transparency of language relations: it is the space in which no language prevails over any other, where the languages circulate...\" (86). It is, in other words, pure possibility that allows for the pleasure of textual engagment, which is a different, hedonistic pleasure than the one produced by engagements with the work.</p>",
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            "note": "<p>pg 085: The work is caught up in a process of filiation. In other words, works have families, heritages, lineages, descendents, siblings (works from the same author, etc). The work is tied to the \"law of the father\" (that is, a respect for the intent of the author).  The text, by contrast, is free of any such position. One need not regard a text in respect to its author or lineage, it can be placed in any network of texts and easily replaced in another.</p>\n<p> </p>\n<p>6) Reading/Consumption. \"The text...decants the work...from its consumption and recuperates it as play, task, production, practice.\" In other words, engagement with a text is one of co-authorship--you can create your own meaning with your reading practices, not simply consume the author's meaning. The restoration of *play* in engagements with the text.</p>",
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