Malcolm Quinn

Dany Nobus

Why is stupidity sublime? What is the value of a 'dialectics of ignorance' for analysts and academics? Knowing Nothing, Staying Stupid draws on recent research to provide a thorough and illuminating evaluation of the status of knowledge and truth in psychoanalysis. Adopting a Lacanian framework, Dany Nobus and Malcolm Quinn question the basic assumption that knowledge is universally good and describe how psychoanalysis is in a position to place forms of knowledge in a dialectical relationship with non-knowledge, blindness, ignorance and stupidity. The book draws out the implications of a psychoanalytic theory of knowledge for the practices of knowledge construction, acquisition and transmission across the humanities and social sciences. The book is divided into two sections. The first section addresses the foundations of a psychoanalytic approach to knowledge as it emerges from clinical practice, whilst the second section considers the problems and issues of applied psychoanalysis, and the ambiguous position of the analyst in the public sphere. Subjects covered include: The Logic of Psychoanalytic Discovery Creative Knowledge Production and Institutionalised Doctrine The Desire to Know versus the Fall of Knowledge Epistemological Regression and the Problem of Applied Psychoanalysis This provocative discussion of the dialectics of knowing and not knowing will be welcomed by practicing psychoanalysts and students of psychoanalytic studies, but also by everyone working in the fields of social science, philosophy and cultural studies.

Elements for a Psychoanalytic Epistemology

Knowing Nothing, Staying Stupid

Despite the enormous amount of material on the subject of Nazism, there has been no substantial work on its emblem, the swastika. This original and controversial contribution examines the role that the swastika played in the construction of the Aryan myth in the nineteenth century, and its use in Nazi ideology as a symbol of party, nation and race, treating it as symbolic phenomenon in a cultural context. By identifying the swastika as a boundary or liminal image, Malcolm Quinn allies visual anaysis to issues of material culture and history.

Constructing the Symbol

The Swastika

Stephen Wilson

Dave Beech

Michael Lehnert

Carol Tulloch

This book offers an interdisciplinary analysis of the social practice of taste in the wake of Pierre Bourdieu’s sociology of taste. For the first time, this book unites sociologists and other social scientists with artists and curators, art theorists and art educators, and art, design and cultural historians who engage with the practice of taste as it relates to encounters with art, cultural institutions and the practices of everyday life, in national and transnational contexts. The volume is divided into four sections. The first section on ‘Taste and art’, shows how art practice was drawn into the sphere of ‘good taste’, contrasting this with a post-conceptualist critique that offers a challenge to the social functions of good taste through an encounter with art. The next section on ‘Taste making and the museum’ examines the challenges and changing social, political and organisational dynamics propelling museums beyond the terms of a supposedly universal institution and language of taste. The third section of the book, ‘Taste after Bourdieu in Japan’ offers a case study of the challenges to the cross-cultural transmission and local reproduction of ‘good taste’, exemplified by the complex cultural context of Japan. The final section on ‘Taste, the home and everyday life’ juxtaposes the analysis of the reproduction of inequality and alienation through taste, with arguments on how the legacy of ideas of ‘good taste’ have extended the possibilities of experience and sharpened our consciousness of identity. As the first book to bring together arts practitioners and theorists with sociologists and other social scientists to examine the legacy and continuing validity of Pierre Bourdieu’s sociology of taste, this publication engages with the opportunities and problems involved in understanding the social value and the cultural dispositions of taste ‘after Bourdieu’. It does so at a moment when the practice of taste is being radically changed by the global expansion of cultural choices, and the emergence of deploying impersonal algorithms as solutions to cultural and creative decision-making.

Art, Museums and Everyday Life After Bourdieu

The Persistence of Taste

This provocative discussion of the dialectics of knowing and not knowing, and how they inform Freudian and Lacanian theory, will be welcomed by practicing psychoanalysts and students of the humanities and social sciences.

Anthony Julius

Philip Schofield 

Bentham and the Arts considers the sceptical challenge presented by Bentham’s hedonistic utilitarianism to the existence of the aesthetic, as represented in the oft-quoted statement that, ‘Prejudice apart, the game of push-pin is of equal value with the arts and sciences of music and poetry. If the game of push-pin furnish more pleasure, it is more valuable than either.’ This statement is one part of a complex set of arguments on culture, taste, and utility that Bentham pursued over his lifetime, in which sensations of pleasure and pain were opposed to aesthetic sensibility. Leading scholars from a variety of disciplines reflect on the implications of Bentham’s radical utilitarian approach for our understanding of the history and contemporary nature of art, literature, and aesthetics more generally.

Malcolm Quinn

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