By Maurice Godelier
Maurice Godelier, au début de sa carrière, fut un temps maître-assistant auprès de Claude Lévi-Strauss, alors titulaire de l. a. chaire d’anthropologie au Collège de France. Entretenant avec son maître un rapport critique, mais conscient de l. a. puissance de l’oeuvre, il est possible qu’il conçut dès cette époque le projet d’écrire un jour son "Lévi-Strauss". Le voici, somme savante et érudite, fondée sur une relecture ligne à ligne de l’oeuvre de son aîné, décédé en 2009. Et d’abord de son versant théorique et critique : Les buildings élémentaires de l. a. parenté (1949), Les Mythologiques (4 volumes de recension systématique de los angeles mythologie amérindienne, 1964-1971), Anthropologie structurale (1958 et 1973), los angeles Pensée sauvage (1962). Sans pour autant négliger les fameux Tristes tropiques (1955) et Race et histoire (1952). L’objet ideal de ce voyage au coeur de l’ambition structuraliste ? Souligner l. a. richesse du travail accompli, mettre au défi los angeles puissance théorique (le structuralisme lui-même), tenter de dépasser apories et contradictions. Une oeuvre, donc, qui vaut advent à une autre, l’une et l’autre dignes de figurer au most suitable rang des productions de l’intelligence humaine.
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To reshape Lloyd’s awareness of nationalism as excessive of the containing discourses of the state, it can be argued that cultural identity in Northern Ireland, even as a residual force, remains – as it has been from the first instance – a product of bourgeois ideology, and as such adapts to its reduced circumstances with the same flexibility it had previously exercised. In Deane’s analysis such ideology is as elusive a presence as Barthes found it to be in 1960s France. To conclude this part of the discussion, a recognition of the concept of identitarianism as providing a meaningful critique of cultural practice offers a way of understanding the various cultural alliances forged between capitalism and nationalism and an identification of the ultimate repository of such values within bourgeois cultural forms.
And yet, as the unrealised nature of Oudart’s project suggests, such a utopia is inevitably imagined in terms of that which already exists; both the definition and purpose of it arise from current bourgeois cultural hegemony. The circularity of this theorising, then, is a relevant, if exasperating, place to begin in any consideration of recent representations of Northern Ireland in film. While it indicates most obviously the distance between current film practice and critical assessments of that practice – granting to Hill, Gibbons and Rockett something of the status of a government in exile awaiting the overthrow of the present corrupt order – it also renders explicit the frustrations of such a position as criticism turns in disgust from bourgeois cinema and yet is unable to posit an alternative mode of representation.
He explained how the Brits never left anywhere without a fight. How they had to be beaten out of every country they ever occupied. ’ Such sentiments develop the film’s interest in exploring postcolonial analogies and are clearly juxtaposed with Giuseppe’s indignant refusal to accept any help or support from McAndrew or, by extension, the IRA. While in prison, McAndrew mobilises the other prisoners (who, in their status as social outcasts, are perceived as having an identity analogous to the Irish in Britain) and masterminds a sadistic attack on prison warden Barker (John Benfield); a figure who immediately prior to the event had formed a fragile emotional link with Giuseppe.
Lévi-Strauss by Maurice Godelier