By Stjepan Mestrovic
Anthony Giddens is arguably the world's prime sociologist. during this arguable contribution to the Giddens debate, Stjepan Mestrovic takes up and criticizes the most important topics of his paintings - relatively the concept that of 'high modernity' in preference to 'postmodernity' and his tried development of a 'synthetic' culture in accordance with human corporation and constitution. trying out Giddens' theories opposed to what's taking place within the actual global from genocide in Africa to close secession in Quebec, Mestrovic discerns within the development of artificial traditions now not the promise of freedom held out by means of Giddens yet quite the ominous strength for brand new kinds of totalitarian keep an eye on.
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Extra info for Anthony Giddens: The Last Modernist
Similarly, over one hundred articles have been published in scholarly journals on Anthony Giddens and his work, yet few of them offer a serious challenge to him. Giddens has ANTHONY GIDDENS: THE LAST MODERNIST 21 become almost a “sacred” icon, an object of idolatry to his followers. ) A sociological explanation for this state of affairs might be that in addition to his skills as a social theorist, Giddens’s writings flow with the social tide that exhorts modernist assumptions. Giddens is the last modernist.
Nicky Gregson contends that structuration theory is as irrelevant for empirical work as Parsonian theory. Linda Murgatroyd’s feminist critique of Giddens is devastating. These three chapters sound the two most discordant notes in this collection and qualify as serious critiques of Giddens. In the concluding chapter, Giddens replies to these critics, and basically restates his positions. : 253). That seems to be, for Giddens, a typically evasive and not very helpful reply. In reply to Bauman, Giddens writes: As Bauman rightly points out, one of my concerns in social theory has been to provide an account of human agency which recognizes that human 34 ANTHONY GIDDENS: THE LAST MODERNIST beings are purposive actors, who virtually all the time know what they are doing (under some description) and why.
The overly felicitous view of the postmodern world as one of tolerance and globalization is remarkably close to Giddens’s own hyper-optimistic brand of modernism. ” But Giddens and I differ vis-à-vis postmodernism in that I take seriously the pessimistic rhetoric of rupture, endings, and apocalyptic themes found in the postmodern discourse even though I do not accept completely the theoretical premises or scaffolding of postmodernism. And against both postmodern social theory as well as Giddens’s theory of structuration, I offer postemotional theory as a way of explaining the seemingly sudden intrusion of traditions, emotions, and history in contemporary modernist societies (Meštrović 1997).
Anthony Giddens: The Last Modernist by Stjepan Mestrovic