by Peter Murphy
I think that what happened to both of us separately but in unconscious tandem in the 1990s says a lot about the intellectual framing of Australian society and history. We both, unwittingly, without any preconception of this, moved away from a politicised interpretation of Australian society (typical of much of Australian historiography) toward a view that placed art and aesthetics at the centre of social analysis.
John Kinsella is widely known as an ‘international regionalist’, activist, anarchist, poet, novelist. The publication of his work in Thesis Eleven is an auspicious occasion for us. The journal has long published writing about literature, its politics and performance. Here we present the act in literature itself.
I remember it clearly, as if it was yesterday, the day I first met Ágnes Heller. It was early in 1980 on the ground floor of La Trobe University’s Social Sciences building. I had an appointment with her. I had come to ask her if she would supervise my PhD. I had read an article she had published in Telos journal on ethics, and I felt a strong affinity with it. I brought with me my Honours thesis on Hegel’s Philosophy of Right. As I got to her office she appeared—both of us characteristically on time. My first impression: a short woman with penetrating deeply intelligent eyes. My lasting impression: she appeared with slightly damp hair and a towel around her shoulders. She’d been swimming in the university pool, one of her life-long favourite activities.
On Luc Boltanski: Contradictions and Critiques “Boltanski is described as challenging formulaic approaches in sociology and as developing instead novel theoretical insights and an innovative pragmatist methodology. It is suggested that these innovations are complemented by Boltanski’s substantial investigations into empirical developments. Links are drawn between the themes of Boltanski’s work, especially on the…
thesis eleven 