The Telos Press Podcast: Greg Melleuish and Susanna Rizzo on the Historical Roots of the Current Crisis of the University

In today’s episode of the Telos Press Podcast, David Pan talks with Greg Melleuish and Susanna Rizzo about their article “Universities: Truth, Reason, or Emotion?” from Telos 200 (Fall 2022). An excerpt of the article appears here. If your university has an online subscription to Telos, you can read the full article at the Telos Online website. For non-subscribers, learn how your university can begin a subscription to Telos at our library recommendation page. Print copies of Telos 200 are available for purchase in our online store.

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Telos 197 (Winter 2021): The Modern City in World Cinema

Telos 197 (Winter 2021): The Modern City in World Cinema, edited by Jaimey Fisher and Sheldon Lu, is now available for purchase in our store. Individual subscriptions to Telos are also available in both print and online formats.

The theme of this special issue of Telos is the modern city in world cinema. Its various essays examine the depiction of cities and their constitutive contexts through the lens of critical theory, political theory, cultural theory, and film theory. The contributors tackle a range of topics: the experience of modernity in urban contexts; cities in relation to civil society and the public sphere; the metropolis and cosmopolitanism; the urban/rural divide; cities and gendered, racial, and class divides; urban planning and urban space; film as a particular medium, with specific parameters, in the broader age of media; film as mass entertainment and as revolutionary propaganda. Even with this wide range of topics and their themes, there are many more to be explored, herein and elsewhere, so complex and rich are the relations of the urban to the cinematic.

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The Korean Wave and the Impasse of Theory

Peter Yoonsuk Paik’s “The Korean Wave and the Impasse of Theory” appears in Telos 184 (Fall 2018), a special issue on Korea. Read the full article at the Telos Online website, or purchase a print copy of the issue in our online store. Individual subscriptions to Telos are available in both print and online formats.

South Korean popular culture has achieved startling success across much of the globe during the past decade. The first transnational form of popular culture that is not the legacy of an imperial project, the efforts to understand the significance of the “Korean wave” have been hampered by dominant scholarly approaches in the humanities that are not capable of grasping both its emergence and its appeal. This article argues that a key reason for the appeal of South Korean television and film is the fact that they explore the clash between tradition and modernity. South Korean media resonates with peoples across the world who are living out the conflicts between tradition and modernity and are thus eager for models for negotiating the competing demands of the two.

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Telos 184 (Fall 2018): Korea: Modernity and Culture

Telos 184 (Fall 2018), a special issue on Korea, edited by Haerin Shin, is now available for purchase in our store.

While Korea’s history as a modern nation-state has always been a tumultuous reel of socio-political unrest, never has it drawn the globe’s attention to the degree and extent to which the press coverage of the past two years attests. South Korea’s candlelight demonstrations in the fall of 2016 were widely regarded as a newly arisen form of celebratory civil protest culture, and news of the progressive party’s subsequent rise to power stood out amid the global turn toward conservative politics. Meanwhile, with North Korea’s nuclear threat becoming a palpable reality, media outlets began clamoring with predictions of a major military outbreak across the Pacific. (I remember being inundated by concerned emails from acquaintances abroad during my breaks in South Korea last year.) Then came the dramatic shift toward prospects of denuclearization and North–South collaboration this past summer. Millions watched in awe as Kim Jong Un took President Moon’s hand and walked over the Military Demarcation Line. The meeting in Singapore was viewed with skepticism in the United States, but more pertinently such attempts to reestablish channels of communication were greeted warmly in South Korea.

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From Shanghai Modern to Shanghai Postmodern: A Cosmopolitan View of China’s Modernization

Ning Wang’s “From Shanghai Modern to Shanghai Postmodern: A Cosmopolitan View of China’s Modernization” appears in Telos 180 (Fall 2017), a special issue on Cosmopolitanism and China. Read the full article at the Telos Online website, or purchase a print copy of the issue in our online store. Individual subscriptions to Telos are now available in both print and online formats.

To discuss the issue of cosmopolitanism in the Chinese context is, as in the Western context, no longer new to China’s humanities intellectuals, for this issue once did attract Chinese intellectuals in the 1920s when nationalism dominated Chinese academia and intellectual circles. Furthermore, it indeed had some parallel elements in ancient Chinese philosophy. It is therefore quite natural that cosmopolitanism was not so attractive when China, according to Dr. Sun Yat-sen, was not qualified enough to talk about cosmopolitanism as it was still poor and backward at the time. In the current era of globalization, along with the increasingly important role played by China and its leaders, more and more scholars have been paying considerable attention to this issue with regard to global culture and world literature.

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George Steiner on Original Sin, Hope, and Tragedy

At the beginning of his 1961 study The Death of Tragedy, George Steiner claimed that Christian “optimism” contributed to the demise of tragic drama in modernity. The ensuing chapters of The Death of Tragedy actually offer a more nuanced account, though, in which Steiner finds tragic potential in the doctrine of original sin. In subsequent essays, Steiner has doubled down on his claim that tragedy must be bleak. Indeed, he now holds up an ideal of hopeless “absolute tragedy.” In these later writings, Steiner has also continued to show interest in original sin, even claiming in a 2004 essay that original sin is the core of tragic art.

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