Visibility and History: Giorgio Agamben and the Exemplary

DeCaroli, Steven

doi:10.5840/philtoday200145supplement2

Cited by 4 publications

(3 citation statements)

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“…Without pre-given rules, the only pedagogical strategy that might be used is to show the best records, performers or businesses. In doing so, one is invited to experiment empirically with the canon: ‘Through the example one learns something, one comes to knowledge in the manner of the witness, not through the abstractions of reason but through an empirical encounter’ (DeCaroli 2001, p. 14). Award ceremonies' visibility is a way to make musiques émergentes musicians, artisans and audience acquainted with its preferred forms or practices through empirical encounter.…”

Section: Mimis Vs Gamiqmentioning

confidence: 99%

“…The exemplarity of the MIMIs means that they are part of an ensemble, while they are concurrently inferring the modes of participation to the totality. As Steven DeCarolis emphasises, this is one of the main features of the example: ‘[…] the example is at one and the same time a member of a set and the defining criteria of that set’ (DeCaroli 2001, p. 10). The exemplarity of the gala is dependent on determining the limits of its population.…”

Section: The Totalisation Process: From the Delegate To The Censusmentioning

confidence: 99%

“…Following this, the award ceremonies are exemplar and pedagogical: they show the best individuals, whom one might be inspired by. Steven DeCaroli (2001) presents Agamben's example as a pedagogical notion. It is used in order to educate, ‘[…] that is, a mode of coming to knowledge, which more often than not, is employed for the sake of gathering a community: be it in religious traditions or aesthetic education’ (DeCaroli 2001, p. 11).…”

Section: Voting For a Good Examplementioning

confidence: 99%

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‘One for all …’: The case of the MIMIs awards and their exemplarity of Montréal's ‘musiques émergentes’

Lussier¹

2014

Pop. Mus.

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Award ceremonies have played a central role in popular music. One aspect of this role is their exemplarity: they place in full view what is to be valued in popular culture and, at the same time, they embody a sample of something larger than themselves, an ensemble. The Félix award, organised by ADISQ (Québec's music trade association), has played this role in Québec since 1979. However, in 1995, members of the underground scene, claiming that this award ceremony was not representative of all of Québec's musical families, created their own gala: the MIMIs (Montreal's International Music Initiative). This paper focuses on the exemplarity of this event for the Québec (Canada) ‘musiques émergentes’. In the first part, I look at one of the most visible faces of the MIMIs – its categories – to give an overview of the ways in which the event highlights its exemplarity of the totality of ‘musiques émergentes’ through their celebration. In the second part, I discuss the totalising processes implemented by the MIMIs to ensure that all artists, records or organisations could be considered in the pool of potential nominees.

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Section: Mimis Vs Gamiqmentioning

confidence: 99%

Section: The Totalisation Process: From the Delegate To The Censusmentioning

confidence: 99%

Section: Voting For a Good Examplementioning

confidence: 99%

See 1 more Smart Citation

‘One for all …’: The case of the MIMIs awards and their exemplarity of Montréal's ‘musiques émergentes’

Lussier¹

2014

Pop. Mus.

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Giorgio Agamben

Mills

2011

The Wiley‐Blackwell Companion to Major Social Theorists

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Testimony: Beyond the Language of Truth

Strejilevich¹

2006

hrq

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Tension exists between the ways in which testimonies voice their truth, and the expectations readers or listeners have regarding what truth means and how it should be voiced. Society favors systematizing testimony as a collection of facts whereas testimony after genocide does not abide by the rules established by the scientific/academic/legal apparatus. Rather, it voices the intimate, subjective, deep dimension of horror. Having witnessed the abyss of atrocity, survivors can no longer rely on knowledge or facts as the basis for thinking. It is mostly in the realm of literature where recounting becomes an elaboration of language so that it can invoke the true nature of the "event." Based on authors such as Giorgio Agamben, Hannah Arendt, Ariel Dorfman, Shoshana Felman, Dominique LaCapra, Dori Laub, and Walter Benjamin, this article underscores the role of testimony as a means for working through traumatic memories and for social and cultural resistance—a must for the ethical recovery of a community after the experience of utmost exclusion.

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Visibility and History: Giorgio Agamben and the Exemplary

Cited by 4 publications

References 0 publications

‘One for all …’: The case of the MIMIs awards and their exemplarity of Montréal's ‘musiques émergentes’

‘One for all …’: The case of the MIMIs awards and their exemplarity of Montréal's ‘musiques émergentes’

Giorgio Agamben

Testimony: Beyond the Language of Truth

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