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Since Max Weber social theory has been faced with a paradox -- the
"problem of rationality" -- that seems to challenge the very
foundations of critical and humanist visions of modern society.
According to Weber, as industrial societies develop they
increasingly are dominated by rational procedures for the
production of goods, the organization of human resources, and the
management of information. The paradox consists in the fact that
while modern society is, in this instrumental sense, becoming more
rationalized, the prospects for developing political and cultural
institutions which are linked to a progressive vision of rational
discourse and democratic-will formation are diminished.
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
How is history produced? How do individuals write-or rewrite-their
parts while engaged in the production of history? Michael Lynch and
David Bogen take the example of the Iran-contra hearings to explore
these questions. These hearings, held in 1987 by the Joint
House-Senate Select Committee on Secret Military Assistance to Iran
and the Nicaragua Opposition, provided the nation with a media
spectacle and a rare chance to see a struggle over the writing of
history. There was Oliver North, prime suspect and designated
scapegoat, turning into a hero of the American Right before the
very eyes of the nation. How this transformation occurred, with the
complicity of the press and the public, becomes disturbingly clear
in The Spectacle of History. Lynch and Bogen detail the practices
through which the historical agents at the center of the hearings
composed, confirmed, used, erased, and denied the historical
record. They show how partisan skirmishes over the disclosure of
records and testimony led to a divided and irresolute outcome, an
outcome further facilitated by the "applied deconstruction"
deployed by North and his allies. The Spectacle of History immerses
the reader in a crowded field of texts, utterances, visual
displays, and media commentaries, but, more than a case study, it
develops unique insight into problems at the heart of society and
social theory-lying and credibility, the production of civic
spectacle, the relationship between testimony and history, the uses
of memory, and the interplay between speech and writing. Drawing on
themes from sociology, literary theory, and ethnomethodology and
challenging prevailing concepts held by contemporary communication
and cultural studies, Lynch and Bogen extract valuable theoretical
lessons from this specific and troubling historical episode.
How is history produced? How do individuals write-or rewrite-their
parts while engaged in the production of history? Michael Lynch and
David Bogen take the example of the Iran-contra hearings to explore
these questions. These hearings, held in 1987 by the Joint
House-Senate Select Committee on Secret Military Assistance to Iran
and the Nicaragua Opposition, provided the nation with a media
spectacle and a rare chance to see a struggle over the writing of
history. There was Oliver North, prime suspect and designated
scapegoat, turning into a hero of the American Right before the
very eyes of the nation. How this transformation occurred, with the
complicity of the press and the public, becomes disturbingly clear
in The Spectacle of History. Lynch and Bogen detail the practices
through which the historical agents at the center of the hearings
composed, confirmed, used, erased, and denied the historical
record. They show how partisan skirmishes over the disclosure of
records and testimony led to a divided and irresolute outcome, an
outcome further facilitated by the "applied deconstruction"
deployed by North and his allies. The Spectacle of History immerses
the reader in a crowded field of texts, utterances, visual
displays, and media commentaries, but, more than a case study, it
develops unique insight into problems at the heart of society and
social theory-lying and credibility, the production of civic
spectacle, the relationship between testimony and history, the uses
of memory, and the interplay between speech and writing. Drawing on
themes from sociology, literary theory, and ethnomethodology and
challenging prevailing concepts held by contemporary communication
and cultural studies, Lynch and Bogen extract valuable theoretical
lessons from this specific and troubling historical episode.
Media Studies presents the first collection of studies of mass
media texts of various genres from an ethnomethodological point of
view. This distinct point of view derives from the analytical
attention to the way in which sense may be made of cultural
products, focusing on the logic of textual production that enables
its practitioners to avoid the stipulative classifications of
traditional content analysis, the sterility of hermeneutical
debates, and the ethical quagmires of the critique of ideologies.
This collection offers an advancement of the analytical ambitions
that require close attention be paid to the details of human
conduct in real time and to the articulation of descriptive
vocabularies which accurately characterize the concepts, reasoning,
knowledge, and upon which such conduct depends and exhibits. It
furthers both media studies and ethnomethodology, providing the
intellectual rigor sought after by practitioners of
ethnomethodology and an extension of this kind of inquiry into the
heart of media research.
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