| 10. |
For an exemplary presentation of the Habermasian position, see Seyla Benhabib, 'The Critique of Instrumental Reason', in this volume (Chapter 3). |
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| 11. |
See Oswald Ducrot, Le dire et le dit, Paris: Éditions de Minuit 1986. |
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| 12. |
See Michel Pêcheux, 'The Mechanism of Ideological (Mis)recognition', in this volume (Chapter 6). One should bear in mind here that the key source of the critique of ideological evidences in the discourse analysis is Jacques Lacan's 'The Mirror-phase as Formative of the Function of the I' (included in this volume [Chapter 4]), the text that introduced the concept of recognition [reconnaissance] as misrecognition [méconnaissance]. |
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| 13. |
See Laclau, Politics and Ideology: |
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| 14. |
See Louis Althusser, 'Ideology and Ideological State Apparatuses', in this volume (Chapter 5). |
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| 15. |
Herein resides the interconnection between the ritual that pertains to 'Ideological State Apparatuses' and the act of interpellation: when I believe that I knelt down because of my belief, I simultaneously 'recognize' myself in the call of the Other-God who dictated that I kneel down . . . . This point was developed by Isolde Charim in her intervention 'Dressur und Verneinung' at the colloquium Der Althusser-Effekt, Vienna, 17-20 March 1994. |
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| 16. |
See Theodor W. Adorno, 'Beitrag zur Ideologienlehre', in Gesammelte Schtiften: Ideologie, Frankfurt: Suhrkamp 1972. |
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| 17. |
See Wolfgang Fritz Haug, 'Annäherung an die faschistische Modalität des Ideologischen', in Faschismus und Ideologie 1, Argument-Sonderband 60, Berlin: Argument Verlag 1980. |
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| 18. |
Discourse analysis and the Althusserian reconceptualization of ideology also opened up a new approach in feminist studies. Its two representative cases are Michèle Barrett's post-Marxist discourse analysis (see her 'Ideology, Politics, Hegemony: From Gramsci to Laclau and Mouffe' in this volume [Chapter 11]) and Richard Rorty's pragmatist deconstructionism (see his 'Feminism, Ideology and Deconstruction: A Pragmatist View', in this volume [Chapter 10]). |
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| 19. |
See Nicholas Abercrombie, Stephen Hill and Bryan Turner, 'Determinacy and Indeterminacy in the Theory of Ideology'; and Göran Therborn's critical response, 'The New Questions of Subjectivity', both in this volume (Chapters 7, 8). For a general overview of the historical development of the concept of ideology that led to this self-dispersal, see Terry Eagleton, 'Ideology and its Vicissitudes in Western Marxism', in this volume (Chapter 9). |
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| 20. |
For an approach to this 'implicit' ideology, see Pierre Bourdieu and Terry Eagleton , 'Doxa and Common Life', in this volume (Chapter 12). |
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| 21. |
For the notion of ideology that structures (social) reality, see Slavoj Žižek, 'How Did Marx Invent the Symptom?', in this volume (Chapter 14). |
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| 22. |
See Fredric Jameson, 'Postmodernism and the Market', in this volume (Chapter 13). |
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| 23. |
Cynicism as a postmodern attitude is superbly exemplified by one of the key features of Robert Altman's film Nashville: the enigmatic status of its songs. Altman, of course, entertains a critical distance from the universe of country music that epitomizes the bêtise of everyday American ideology; one entirely misses the point, however, if one perceives the songs performed in the film as a mocking imitation of 'true' country music -these songs are to be taken quite 'seriously'; one simply has to enjoy them. Perhaps the ultimate enigma of postmodernism resides in this coexistence of the two inconsistent attitudes, misperceived by the usual leftist criticism of young intellectuals who, although theoretically aware of the capitalist machinery of Kulturindustrie, unproblematically enjoy the products of rock industry. |
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| 24. |
Note the case of Kieslowski: his films shot in the damp, oppressive atmosphere of late Socialism ( Decalogue) practise an almost unheard-of critique of ('official' as well as 'dissident') ideology; whereas the moment he left Poland for the 'freedom' of France, we witness the massive intrusion of ideology (see the New Age obscurantism of La double vie de Véronique). |
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| 25. |
Within the domain of the law, this opposition between Geist and the obscene Geisterwelt assumes the form of the opposition between the explicit public written Law and its |
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