alterity

art of doing

art of making do

belief

bricolage

consumption

ethnomethodology

everyday life

functional totalitarianism

God is dead

heterology

historian

history

law of the proper

memory

narrative structure

non-place

object

pedestrian speech acts

perruque

place

poaching

readable space

reading

rhetoric of distance

scriptural economy

seeing instead of going

space

space of the other

spatial thinking

story

strategy

tactical practices

texturology

urban space

walking

zone of silence

nationality

French

religion

Catholic

occupation / innovator as

philosopher

innovator in the field of

historiography

philosophy

popular culture

is the difference which a cultural break puts forward.

de Certeau defines alterity as 'the difference which a cultural break puts forward' (1988: 209)

is any everyday routine such as walking, talking, reading, dwelling, and cooking which, despite repressive aspects of modern society, necessarily harbors within itself creative resistance by ordinary people.

arts of doing' such as walking, talking, reading, dwelling, and cooking, were guided by his belief that despite repressive aspects of modern society, there exist an element of creative resistance to these strictures enacted by ordinary people. ' (wiki)

is not the object of believing (a dogma, a program, etc.) but the subject's investment in a proposition, the act of saying it and considering it as true.

As a first approximation, I define belief not as the object of believing (a dogma, a program, etc.) but as the subject's investment in a proposition, the act of saying it and considering it as true. Michel de Certeau

is about 'making do' and involves a re-use of marketing structures.

making do' (bricolage), and a re-use of marketing structures.<8> (practice of everyday life.

is a secondary production hidden in the process of its utilization.

the presence and circulation of a representation (taught by preachers, educators, and popularizers as the key to socioeconomic advancement) tells us nothing about what it is for its users. We must first analyze its manipulation by users who are not its makers. Only then can we gauge the difference or similarity between the production of the image and the secondary production hidden in the process of its utilization'

is an insidious, silent, invisible form of production. It manifests itself not through its own products but rather through its way of using the products imposed by a dominant economic order.

To a rationalized, expansionist and at the same time centralized, clamorous, and spectacular production corresponds another production, called 'consumption.' The latter is devious, it is dispersed, but it insinuates itself everywhere, silently and almost invisibly, because it does not manifest itself through its own products, but rather through its ways of using the products imposed by a dominant economic order.

is a method of describing procedures of everyday interactions via structures of expectation, negotiation, improvisation.

in the wake of J. Fishman's work, the ethnomethodological and sociolinguistic investigations of H. Garfinkel, W. Labov, H. Sachs, E. A. Schegloff, and others have described the procedures of everyday interactions relative to structures of expectation, negotiation, and improvisation proper to ordinary language.<10> (De certeau 1984: intro)

 invents itself by poaching in countless ways on the property of others.

Everyday life invents itself by poaching in countless ways on the property of others. Michel de Certeau

is the space in which ordinary people (or users) reappropriate and subvert repressive cultural institutions imposed upon them.

IVIDUALIZING ADN ALTERING MASS CULTURE'Every day life invents itself by poaching in countless ways on the property of others' [2].

is a late middle age phenomenon whereby the presence of God was condemned to mystical sensibilities at the same time that the birth of the modern subject was driven by introspection for that which was lost.

For de Certeauthe 'death of God' in the late Middle Ages was when an unmediated presence of God in the world became translated into an understanding of its presence through textual scriptures. From that point onwards the presence of God was condemned to mystical sensibilities placed outside 'historical rationalism' and outside the social (de Certeau1988: 133). This loss of the un-mediated presence of God, he argues, coincided with the birth of the 'modern' subject driven by introspection for that which was lost. This loss is often entrusted to a sense that cannot be named, a language that cannot be believed or to a trace that while present cannot be seen. '

is tasked to no longer set out to construct an empire, but to advance towards the frontiers of the great regions, outside the centralizing forces, in the direction of sorcery, madness, festival, popular literature, all zones of silence.

The historian no longer sets out to construct an empire. He no longer sets his sights on the paradise of a global history. He comes to circulate around acquired forms of rationality . . . . In this respect he becomes a prowler. In a society which is adept at generalization and endowed with powerful means of centralization, he advances towards the frontiers of the great regions which have already been exploited. He deviates [fait un ecart] moving in the direction of sorcery, madness, festival, popular literature . . . etc., all zones of silence. (WH 79 / 912)'

is a kind of narrative which produces scientific statements... a scientific practice insofar as 'scientific' is the construction of specific objects according to verifiable results.

For de Certeau history is indeed a narrative, but it is a specific narrative that produces bodies of 'scientific' statements, if what we mean by 'scientific' is the construction of specific objects according to verifiable results. Starting from a definition of 'science' less narrow and less rigid than White's, de Certeau invites us to consider history a 'scientific' practice that, like all other scientific practices, depends on variations in its technical procedures, on constraints imposed by the social setting and the institution of learning where it is exercised, and on the rules that necessarily govern its writing.

is only a prince charming who stays just long enough to awaken the sleeping beauties of our wordless stories.

A memory is only a Prince Charming who stays just long enough to awaken the Sleeping Beauties of our wordless stories. Michel de Certeau

is a spatial trajectory. Narrative structure is a spatial syntax which organizes, selects, and links places.

De Certeau states that narrative structures function as spatial syntaxes, which take account of changes or movements in space. stories are 'treatments of space.' They organize, select and link places. Stories are 'spatial trajectories, which establish boundaries, but also surpass them.'

is analogous to a form of theory-blind, false consciousness.

for de Certeau the non-place is analogous to a form of theory-blind, false consciousness, for Auge it is the basis of his description of a post-postmodern, epochal shift (1995... 1998: 115-22)

is above all a product not of historical processes, but rather as products of place.

Akin to a car produced by a factory, the historical study is bound to the complex of a specific and collective fabrication more than it is the effect merely of a personal philosophy or the resurgence of a past 'reality'. It is the product of a place. (de Certeau, 1988: 64)

is the vantage point from which one writes and the product of the inaugurating split history institutes between past and present.

refers to both the institution needed to support and sponsor writing and the epistemology underpinning it, literally the place where one writes and the place from which one writes.' . . . Place, therefore, has two mutually reinforcing senses: in the sense of the vantage point from which one writes, place is the product of a deliberate temporal schism, the inaugurating split history institutes between past and present:

is concerned with the process of making meaning and the fluidity of popular interpretation.

. .. emphasizes the process of making meaning and the fluidity of popular interpretation. To say that fans promote their own meanings over those of producers is not to suggest that the meanings fans produce are . . . '' (cult film reader) . . .

is tactical resistance par excellence in that the reader necessarily has to make do with what he is provided. Everyday reading disrupts the idea of passive reading, not necessarily opposing them straight on, but working alongside them as a frame of reference.

Reading then, for de Certeau, is tactical resistance par excellence, since the reader necessarily has to make do with what the author and the publisher (i.e., the producer) provide. The text in this formulation represents the place of strategies. what de Certeau terms the.. readable space,' while the 'actuality' of reading is a tactical way of operating within the systems of production of cultural texts ( 1984, 169). Furthermore, for de Certeau the only way to understand this silent production was to look at ways of using... he asked of '[t]he thousands of people 'who buy a health magazine, the customers of newspaper stories and legends-what do they make of what they 'absorb,' receive. and pay for' What do they do with it'' ( 1984. 31 ). The everyday practice of reading, in de Certeau's framework, 'eludes the law of information,' disrupting the ideology that sees a passive reader receiving wholesale messages from cultural texts. However. reading also illustrates how tactics do not necessarily oppose the strategies of the dominant, but do, rather, work alongside them: to read a text you need to work within it as a frame of reference.

is a name given to the power of writing, and in particular, to the idea that since the beginning of the modern age, writing, as the concrete activity of constructing, on its own, blank space, has the power over the exteriority from which it has been isolated.

writing as a 'triumphal conquista of the economy, that has, since the beginning of the ' modern age' given itself the name of writing.'(p. 131) 'the concrete activity that consist in constructing, on its own, blank space (un espace propre ) -- the page-a text that has the power over the exteriority from which it has been isolated.' (p. 134)

Michel De Certeau

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