The Works of Don DeLillo and Joseph McElroy
I. Introduction 1
I. Introduction l. Toward a Morphology of Conspiracy Fiction Culture needs to stage spectacles in which it recreates its own practices and conven- tions, to enter into dialogue with itself, interrogate itself, and understand itself better. These spectacles are reflections of conscious and unconscious knowledge; their size and relative accessibility make this knowledge visible and tangible. Cultural anthropologists like Clifford Geertz have elaborated on the fact that these spectacles are necessary because they resolve conflicts within the culture, at least on the level of their conceptual intricacies, with- out recourse to open aggression. Addressing the sophisticated and mystifying network of metaphoric correspondences surrounding the cockfight in Bali, Geertz remarks that, like any art fonn ... the cockfight renders ordinary, everyday experience comprehensible by presenting it in tenns of acts and objects which have had their practical consequences removed and been reduced (or, if you prefer, raised) to the level of sheer appearances. I In this sense, a spectacle like the cockfight, which remains morally reprehensible or cul- turally mystifying for most outsiders to Balinese society, fulfills a function that Western society has largely focused upon all those elements within culture that are clearly identified as representations. Geertz himself, however, who is mostly concerned with cultures other than his own, is hardly aware of the possibilities of his approach. Elsewhere, he asserts that the whole point of a semiotic approach to culture is, as I have said, to aid us in gaining access to the conceptual world in which our subjects live...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.