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This is a blog for a community of students in Sociology 101A: "Sociological Theory," in the Department of Sociology at the University of California, Berkeley, Fall, 2008.
Welcome!
This is the informal blog spot for errant questions, random ramblings, and clever musings. For the rest of the semester, we'll use this blog to clarify the work(s) of Lenin, Gramsci and Fanon. Feel free to endlessly post, and don't forget: Theory Rocks!
Will Obama bring the U.S. closer to socialism?
Obama: A Traditional or Organic Intellectual?
Grappling with Gramsci
"The mode of being of the new intellectual can no longer consist in eloquence, which is an exterior and momentary mover of feelings and passions, but in active participation in practical life, as constructor, organizer, 'permanent persuader' and not just a simple orator (but superior at the same time to the abstract mathematical spirit) ..." (Prison Notebooks, 10).
"The relationship between the intellectuals and the world of production is not as direct as it is with the fundamental social groups but is, in varying degrees, 'mediated' by the whole fabric of society and by the complex of superstructures, of which the intellectual are, precisely, the 'functionaries'" (Prison Notebooks 12).
"The superstructure of civil society are like the trench-systems of modern warfare. In war it would sometimes happen that a fierce artillery attack seemed to have destroyed the outer perimeter; and at the moment of their advance and attack the assailants would find themselves confronted by a line of defense which was still effective" (Prison Notebooks 235).
"The massive structures of modern democracies, both as State organizations, and as complexes of associations in civil society, constitute for the art of politics as it were the 'trenches' and the permanent fortifications of the front in the war of position ..." (Prison Notebooks 243).
"... [I]t is obvious that all the essential questions of sociology are nothing other than the questions of political science" (Prison Notebooks 244).
"As long as the class-State exists the regulated society cannot exist, other than metaphorically---i.e. only in the sense that the class-State too is a regulated society" (Prison Notebooks 257).
What did you think of the Rosa Luxemburg film?
Oh No He Didn't: Endless, Evolving and Perplexing Lenin Quotables
"We are in favour of a democratic republic as the best form of state for the proletariat under capitalism" (The State and Revolution, 323).
"Simultaneously with an immense expansion of democracy, which for the first time become democracy for the poor, democracy for the people, and not democracy for the money-bags, the dictatorship of the proletariat imposes a series of restrictions on the freedom of the oppressors, the exploiters, the capitalists. We must suppress them in order to free humanity from wage slavery, their resistance must be crushed by force; it is clear that there is no freedom and no democracy where there is suppression and where there is violence" (The State and Revolution, 373).
"The expression 'the state withers away' is very well chosen, for it indicates both the gradual and the spontaneous nature of the process. Only habit can, and undoubtedly will, have such an effect ..." (The State and Revolution, 374).
What did you think of Salt of the Earth?
Who got it right?
2 comments:
In his theory, Durkheim questions how the division of labor corresponds with solidarity, known as the feeling of unity within others (22). He specifics two differing types of solidarities: mechanical solidarity and organic solidarity. Mechanical solidarity is based on the similarities in a society where people behave the same way. Mechanical solidarity lacks individuality and therefore does not correspond with the division of labor. In contrast, organic solidarity is based on the complementary differences that people have (85). Organic solidarity corresponds with the division of labor due the existence of specializations.
Durkheim indicates that both solidarities are measured through laws. Mechanical solidarity is measured through the repressive law. The repressive law is presented through punishments. Through committing crimes, which are violations of a collective consciousness, one is punished (38-39). These crimes change overtime and are varied depending on the society. Punishment reaffirms the collective consciousness. It is a passionate, emotional, and public response (63,57,52). Therefore, punishments are collective through organized bodies defending the society of people against threats (52). In mechanical solidarity, the state functions through defending and symbolizing consciousness (42). In addition, the state creates crimes to be punished as a reminder to the understanding of a society (43). In contrast to mechanical solidarity, organic solidarity is measured through the restitutive law, which functions through restoring the previous relationship/situation to “its normal state” (68). Therefore, in contrast to mechanical solidarity, individual consciousness is superior to the collective consciousness in organic solidarity. In organic solidarity, as more complexities develop within the division of labor, the state plays a role through maintaining and organizing relationships (171). These relationships are the epitome of society, therefore as the division of labor increases, individual interdependence is increased as well and a greater unity is established.
2) The institution of theater encompasses similar passions established through movements and expressive feelings that performers share. Actors and dancers are expected to follow similar regulations during theater productions, which influence the group collectively. However, even though performers work as a group on stage, they are casted differently, depending on the specific and personal talents they specialize in. Thus, theater can operate in mechanical solidarity, due to the repressive law, and in organic solidarity due to the different types of personal talents that performers specialize in.
Productions hold responsibilities on all cast members. If law violations occur, all performers struggle during rehearsals or final performances. When a group of performers are casted, each member must sign a contract, which indicates a set of regulations that must be followed. These regulations include, commitments to specific rehearsal times, outside research responsibilities, character commitments, excessive line memorization etc. These regulations are shaped through the common values, which are shared by the theater business as a whole. However, if any member breaks a rule, the collective consciousness is violated. Therefore, punishments are directed to all cast members. These punishments are organized and passionately presented by the director, in which a high degree of conformity is established.
Relative to organic solidarity, all performers are judged and casted differently in a theater production because they specialize in different personal talents. Although performers share the same passion, they are very distinctive. Performers are assigned different characters, depending on their look, gender, or physical movements. Depending on their auditions and previous experiences and/or developments, some performers are given much more demanding roles than others. In relation to organic solidarity, cast members develop closely tied relationships due to their differences. This increases individual interdependence, resulting in a greater unity during a stage performance.
It is very interesting to see how you explain that the theater actors are in both mechanical and organic solidarity. The examples that you gave us make it easier to understand the difference of M.O. and O.S.
You stated that the actors will violate the collective consciousness if they break the rule (contract), but I am wondering if there is any collective consciousness within the actors?
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