Academia and the Luster of Capital by Sande Cohen

By Sande Cohen

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23 Severed from figures of ambiguous language, which cannot be made to converge with improvement, criticism is exorcised from "often comical. . 27 The integration of discursivity also isolates academic language-moves in terms of oxymoronic forms. The social is entirely dangerous, espe- What Is Criticism For? 9 daily since its forms are more and more capitalized. 28 On this analysis, modern production, considered as a gigantic mesh of constraints, was always in itself an enormous act of decipherment, for which "there is properly neither finality .

28 On this analysis, modern production, considered as a gigantic mesh of constraints, was always in itself an enormous act of decipherment, for which "there is properly neither finality . . nor value," where everyone "can think of himself only as something to produce . . this remarkable phantasm . . "29 Critical discourses smooth the deformations of modernizing production (= displacement of seduction, the latter what allows life to have charm and is irreducible to exchange "relations" and which gets exterminated, one way or another).

Can it be aligned with positive and negative as its attractive and repelling forces? Is it ahead of and yet a detour through the "real"? Pierre Bourdieu thinks that "homo academicus" is conveyed through the language-form of classification, but this seems at once too broad and too "historical," relying as it does on a sort of deferred, yet eternal, Aristotelianism. ' "47 Enunciation is always public: I speak, therefore I owe. " So constant is the demand to make sense in the most economical manner possible — the least variation — that academic history-writing comes to be ordinary in its preservation of lines of continuity, just as scientificity ends up as the form of ultimate rationality.

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