A Novel Is Culture Eisegesis Or Exegesis 2020 Vol.1 ISBN 978-976-96531-9-1

A Novel Is Culture Eisegesis Or Exegesis? © 2020 Vol.1 ISBN 978-976-96531-9-1
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1 933
William Anderson Gittens!
Author, Cinematographer, Dip., Com., Arts. B.A. Media Arts Specialists’ Editor in Chief Devgro Media Arts Services Publishing®2015
License Cultural Practitioner, Publisher, Student of Film, CEO Devgro Media Arts Services Publishing®2015!
A Novel !
Is Culture Eisegesis !
or Exegesis? © 2020 Vol.1!
ISBN 978-976-96531-9-1

`
CLICK THE LINKS
https://youtu.be/b9mxQ4UURGE
https://youtu.be/G5gEQSgObA0
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STATEMENT
Ostensibly, there is a nexus between the differing
and sometimes conflicting views as to just what is
meant by culture, plausibly; culture is an essen-
tial part of conflict and conflict resolution.1
Factually speaking verbalizing Culture is an ex-
tremely vast complex doctrine and presumably root-
ed in the theory of Eisegesis and Exegesis?
©2020. A word of caution though, this perception
2
certainly has to do with our cognition lens . In
3
https://www.beyondintractability.org/essay/culture_conflict
1
Gittens,William Anderson ,Author, Cinematographer, Dip., Com., Arts. B.A. Media Arts Specialists’ Editor in Chief Devgro Media Arts Services Publishing®2015
2
License Cultural Practitioner, Publisher, Student of Film, CEO Devgro Media Arts Services®2015
3
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this academic forum all things been considered ex-
egesis is deemed as objective; and eisegesis, as
subjective.4
Historically, eisegesis (/ˌaɪsɪˈd"iːsɪs/) is the
process of interpreting text in such a way as to
introduce one's own presuppositions, agendas or
biases. It is commonly referred to as reading into
the text. It is often done to "prove" a pre-held
5
point of concern, and to provide confirmation bias
corresponding with the pre-held interpretation and
Webster (1976), New Collegiate Dictionary (8th ed.), G. & C. Merriam, p. 364, eisegesis… the interpretation of a text (as of the Bible) by reading into it one's own
4
ideas….
5
ideas….
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any agendas supported by it. Eisegesis is best un-
derstood when contrasted with exegesis. Exegesis
is drawing out text's meaning in accordance with
the author's context and discoverable meaning.
Eisegesis is when a reader imposes their interpre-
tation of the text. Thus exegesis tends to be ob-
jective; and eisegesis, highly subjective. The
plural of eisegesis is eisegeses (/ˌaɪsɪ
ˈd"iːsiːz/). Someone who practices eisegesis is
known as an eisegete (/ˌaɪsɪˈd"iːt/); this is also
the verb form. "Eisegete" is often used in a mild-
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ly derogatory way. Exegesis (/ˌ#ksɪˈd"iːsɪs/; from
the Greek $%&'()*+ from $%(',-)./*, "to lead out") is
a critical explanation or interpretation of a
text, particularly a religious text. Traditional-
ly, the term was used primarily for work with the
Bible; however, in modern usage biblical exegesis
is used for greater specificity to distinguish it
from any other broader critical text explanation.
Exegesis includes a wide range of critical disci-
plines: textual criticism is the investigation
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into the history and origins of the text, but exe-
gesis may include the study of the historical and
cultural backgrounds of the author, text, and
original audience. Other analyses include classi-
fication of the type of literary genres presented
in the text and analysis of grammatical and syn-
tactical features in the text itself. Although the
6
terms eisegesis and exegesis are commonly heard in
association with Biblical interpretation, both
(especially exegesis) are broadly used across lit-
https://en.wikipedia.org/wiki/Exegesis
6
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erary disciplines. Yet in this context there is a
7
difference between Eisegesis and Exegesis. Exege-
sis means using the words of the text in Scrip-
ture, through the lens of their original context,
to determine their intent. Eisegesis means reading
into the text with a pre-conceived notion we may
have a view espoused by Hope Bolinger .
8
And given the specifics and logistics of this top-
ic combined with the characteristics of exegesis
https://en.wikipedia.org/wiki/Main_Page
7
https://www.christianity.com/wiki/christian-terms/what-are-exegesis-and-eisegesis.html
8
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and eisegesis, presumably will significantly in-
fluence this discourse because they underpin,
stimulate analysis, and encourage interpretation
at the same time in context of textual/transla-
tion, literary context, historical context, and
theological communication.
The constructs objective and subjective are dif-
ferentiated because objective culture is the em-
bodying of materials such as food or clothing,
whereas; subjective culture has to do with atti-
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tudes, values, and beliefs according to Research
9 -
Gate. However, historically, traditional societies
usually share a common culture. Therefore we glob-
al citizens who live in larger, more diverse soci-
eties share a mainstream culture, with which most
people can identify. Societies may also have sub-
cultures, alongside their normal cultures, often
based on shared values or interests, especially
among immigrants and young people. Explaining
10
what is the meaning of being subjective helps al-
https://www.researchgate.net/publication/228981811_Subjective_Culture
9
https://www.factmonster.com/culture-entertainment/culture
10
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leviate as opposed to conflate the issue concern-
ing exegesis and eisegesis.
Interesting enough the more that I demystify and
navigate this conversation concerning whether Cul-
ture is Eisegesis Or Exegesis? © 2020 Vol.1 ISBN
978-976-96531-9-1 I have discovered that the
11
construct subjective has a lot to do with existing
in the mind; belonging to the thinking subject
rather than to the object of thought (opposed to
11
http://www.crivoice.org/exegesisformat.html
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objective) pertaining to or characteristic of an
individual; personal; individual:
a subjective evaluation placing excessive emphasis
on one's own moods, attitudes, opinions, etc.; un-
duly egocentric. In contrast, being the object
12
or goal of one's efforts or actions, not influ-
enced by personal feelings, interpretations, or
prejudice; based on facts; unbiased:
an objective opinion. Not to mention intent upon
or dealing with things external to the mind rather
12
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than with thoughts or feelings, as a person or a
book.13
Equally, culture is derived from the Middle French
culture, which in turn is derived from Latin. In
Latin, culture is written as either cultus, colui,
colo or colere. These Latin words can mean: fos-
tering, inhabiting, cultivating, tilling, main-
taining, tending to, cherishing, worshiping, deco-
rating and adorning. The Latin colere eventually
evolved into cultura and culturae (meaning agri-
https://www.dictionary.com/browse/objective
13
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culture, cultivation, training or taking care of).
In Medieval Latin, the word used was culturare.14
This philosophize complex topic is been explain in
an expository metaphorically thru my 50mm lens.
This lens captures a very shallow depth of field
in my frames about aspects of culture at the same
time focusing my attention on the subject namely
culture by keeping it in focus while the rest of
the frame falls into creative blur as to whether
http://english-ingles.com/etymology-of-culture/
14
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Culture is Eisegesis Or Exegesis? © 2020 Vol.1
ISBN 978-976-96531-9-1. That highlighted, the
15
same will also be supported by the ultra wide-an-
gle lens in landscape photography capturing a wide
view of culture and stretch perspective of the
foreground interest of culture that’s close to my
camera which is also better at controlling barrel
distortion and vignetting culture while all of
this action is done in tandem with my macro lens
which allows me to view the world in a cultural
15
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context in close up transforming ordinary cultural
subjects that I see every day into something ex-
traordinary like an authentic interpretation of
16
culture. Just as in photography and optics, vi-
gnetting (/vɪnˈj#tɪŋ, viːnˈ-/; French: vignette)
is a reduction of an image's brightness or satura-
tion toward the periphery compared to the image
center. Likewise metaphorically and philosophical-
ly this technique is expressed in culture because
photography is part of culture and culture is part
of photography. That said, it should be noted
https://digitalrev.com/2017/11/21/the-three-lenses-every-photographer-should-own/
16
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that in the word vignette, from the same root as
vine, originally referred to a decorative border
in a book. Later, the word came to be used for a
photographic portrait that is clear at the center
and fades off toward the edges. A similar effect
is also visible in photographs of projected images
or videos off a projection screen, resulting in a
so-called "hotspot" effect.17
Vignetting is often an unintended and undesired
effect caused by camera settings or lens limita-
tions. However, in this context it will be used
https://en.wikipedia.org/wiki/Vignetting
17
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deliberately and introduced for creative effect,
such as to draw attention to the center of the
frame. Similarly in culture according to Chiara
18
Rabbiosi and Albrto Vanolo fictional vignettes are
narrative texts that we academic researchers may
invent in order to illustrate arguments or to
present their research outcomes; they are stories
or situations that do not strictly report factual
realities observed by the author, but that, in any
case, implement the heuristics for the arguments
18
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that the author wants to raise. We also believe
19
that a vignette is a scene or a descriptive
sketch. It might focus on a single moment or an
image, or it may give a particularly distinct im-
pression of a character or setting. A short story—
no matter how short—will have a conflict and a be-
ginning, middle, and end. A photographer may de
20 -
liberately choose a lens that is known to produce
vignetting to obtain the effect, or it may be in-
troduced with the use of special filters or post-
https://journals.sagepub.com/
19
https://www.writingclasses.com/toolbox/ask-writer/what-is-the-difference-between-a-short-story-and-a-vignette
20
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processing procedures. In the case of cultural
practitioners since they are conscious of the fact
that Culture is made up of customs, attitudes, and
beliefs that are unique to each group of people.
They can encourage and introduce new philosophical
ideas and technological advances which invari
21 -
ably can lead to cultural change. Cultural
change in this context can also occur through dif-
fusion, when contact with other cultures and ideas
are transferred. For instance when using superzoom
lenses, vignetting may occur all along the zoom
https://study.com/academy/lesson/how-do-cultures-change.html
21
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range, depending on the aperture and the focal
length. However, it may not always be visible, ex-
cept at the widest end (the shortest focal
length). In these cases, vignetting may cause an
exposure value difference of up to 0.75 exposure
value. In psychology there is a vignette in psy
22 -
chological and sociological experiments presents a
hypothetical situation, to which research partici-
pants respond thereby revealing their perceptions,
values, social norms or impressions of events.
Photography connects with the world, captures cul-
https://en.wikipedia.org/wiki/Vignette_(psychology)
22
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ture and history, see the beauty in my everyday
life, tell my story, make me feel happier, experi-
ment and learn history which is consistent with
23
my ideology as License Cultural Practitioner and
Publisher. That’s why from my field of view as an
Author, Student of Film, Media Arts Specialist,
License Cultural Practitioner and Publisher quali-
fies me to critically explain and interpret what
the original cultural theorist meant in expressing
culture in this text A Novel Is Culture Exegesis
On Culture© 2020 Vol.1ISBN 978-976-96531-9-1 in
//www.quiltercheviot.com/je/private-client/insights/10-reasons-why-photography-is-important-in-todays-society/
23
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the context of explicating eisegesis and exege-
sis. These are critical to this conversation es
24 -
pecially the theoretical question Is Culture Eise-
gesis or Exegesis? © 2020 Vol.1 . In the process
25
of explaining and interpreting culture through the
lens of a photographer all of aforesaid assertions
are juxtaposed against the definition of culture
and textual/translation, literary context, histor-
ical context, and theological communication.
24
25
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Objectively speaking this conversation invariably
focuses our attention on verbalizing whether Cul-
ture Is Eisegesis or Exegesis? © 2020 but the
26
interpretation depends on our cognition lens. Web-
ster New Collegiate Dictionary states that exege-
sis is deemed as objective; and eisegesis is
deemed as subjective. eisegesis and exegesis
27
stimulate analysis and interpretation especially
when it is intertwined with vignettes a term
utilised by photographers. Vignettes become par-
26
27
ideas….
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ticularly useful in this space since I will be
trying to shed culturally-relevant light on aging
and old age-related understandings but in this
context the question Is Culture Eisegesis or Exe-
gesis? © 2020 will be answered. In the scheme of
28
things since subjective culture is a society's
"characteristic way of perceiving its social envi-
ronment" (Triandis, 1972, p. viii, 3). It consists
of ideas about what has worked in the past and
thus is worth transmitting to future
28
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generations. Presumably could Ralph Linton’s de
29 -
finition of Culture as the way of its members;
30
the collection of ideas and habits which they
learnt, are shared and transmitted from generation
to another generation” be construed of subjective.
This expository will always be contested especial-
ly since I am arguing whether Culture Is Eisegesis
or Exegesis? © 2020. I presuppose that Culture
31
Is Eisegesis and or Exegesis. According to Kieran
Egan for my claim that Culture Is Eisegesis or Ex-
https://scholarworks.gvsu.edu/cgi/viewcontent.cgi?article=1021&context=orpc
29
Michael Haralarmbos and Robin Heald and Robin Heald Sociology Themes and Perspectives Great Britain : University Tutorial Press Limited 1980p.177
30
31
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egesis to be true, or even meaningful, my presup-
position must be true. Therefore, it would be an
absurd strategy to deal only with the claims and
ignore the presuppositions; because it may well be
that our disagreements are at the level of presup-
position .
32
Overall given the fact that this text has some ap-
pearance of symbolism and is philosophize
metaphorically through my lens to tell my story
“then learning and unlearning and rejecting pre-
suppositions” is vital a view espoused by Carol
https://www.sfu.ca/~egan/Presuppositions.html
32
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Upadhya in this conversation. During the expli
33 -
cation process the three major theoretical ap-
proaches injected toward the interpretation of
culture included a functionalist perspective, con-
flict theorist and an interactionist perspective.
The functionalist perspective acknowledges that
there are many parts of culture that work together
as a system to fulfill society’s needs. Function-
alists view culture as a reflection of society’s
values. I must add that Conflict theorists see
culture as inherently unequal, based upon factors
https://www.jstor.org/
33
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like gender, class, race, and age. No to mention
that an interactionist is primarily interested in
culture as experienced in the daily interactions
between individuals and the symbols that comprise
a culture. Various cultural and sociological oc-
currences can be explained by these theories; how-
ever, there is no one “right” view through which
to understand culture. Therefore when all of
34
data is extrapolated from the research conducted,
(a)in context this process is deemed applicable
and (b)relevant to this discourse because exegesis
https://courses.lumenlearning.com/
34
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tends to be objective on culture; and eisegesis,
is highly subjective as it relates to culture.
35
Overall, it should be noted that all writers oper-
ating in any cultural space regardless of our eth-
nicity we have a subjective point of view and
there is this perception that writing a text or
discussing a subject can be subjective but this
depend on the subject matter. Therefore a biased
writer may not pay attention to all the facts or
develop a logical argument to support his or her
opinions. Bias is when a statement reflects a par-
35
ideas….
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tiality, preference, or prejudice for or against a
person, object, or idea. Much of what we read and
hear expresses a bias .For example history, like
36
all subjects, is subjective — given that the prac-
titioners are subjects. History is the same, only
with two additional problems. First, those who
create the source documents from which historians
study were all people writing from their own sub-
jective point of view. On the other hand, writ
37 -
ers can be objective too. For example, being ob-
https://researchguides.njit.edu/evaluate/bias
36
https://www.quora.com/Is-history-subjective-or-objective-Which-one-is-the-real-one
37
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jective suggests that you are concerned about
facts and are not influenced by personal feelings
or biases . And if our discourse has more facts
38
than opinions then it is considered as objective.
However, by the same token if our expressions have
more opinions than facts it is subjective. There-
fore Culture can be Eisegesis or Exegesis? ©
2020 Vol.1ISBN 978-976-96531-9-1 but this depends
39
on if and when an equal number of facts and opin-
ions are presented .
40
https://owll.massey.ac.nz/academic-writing/writing-objectively.php
38
39
http://www.trcm.ca/wp-content/uploads/Analyzing-a-News-Article.-Subjective-or-Objective.pdf
40
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Now that I have established context, metaphorical-
ly speaking in this academic forum thru my 50mm
lens, ultra wide-angle and my macro lens as an
Author, Student of Film, Media Arts Specialist,
License Cultural Practitioner and Publisher quali-
fies me to analyse and interpret culture within
the precincts of this text A Novel Is Culture
Eisegesis or Exegesis? © 2020 Vol.1ISBN
41
978-976-96531-9-1. At the end of the day when the
proverbial dust is settled and all of the reasons
41
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associated with this text are staged were fleshed
out above regarding the doctrines of exegesis42
namely textual/translation, literary context, his-
torical context, and theological communication
lays the frame work to solidify and validate this
conversation A Novel Is Culture Eisegesis Or Exe-
gesis? © 2020 Vol.1. Whether Culture Is Eisegesis
Or Exegesis? © 2020 Vol.1 ISBN 978-976-96531-9-1
does not conflate the issue but it Is a pretext to
use the lens of interpretation on this stage
42
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framed in 9 chapters in ISBN 978-976-96531-9-1can
be implicit and explicit.
William Anderson Gittens
Author, Cinematographer,Dip., Com., Arts. B.A. Media Arts Specialists’ Editor in Chief
Devgro Media Arts Services Publishing ®2015 License Cultural Practitioner, Publisher, CEO
Devgro Media Arts Services Publishing®2015
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COPYRIGHT
A Novel Is Culture Eisegesis Or Exegesis? © 2020
Vol.1 ISBN 978-976-96531-9-1
William Anderson Gittens, Author, Cinematographer
Dip.Com., Arts. B.A. Media Arts Specialists’ Li-
cense Cultural Practitioner, Publisher, CEO Dev-
gro Media Arts Services®2015,Editor in Chief of
Devgro Media Arts Services Publishing®2015
First Edition © 2020 All rights reserved.No part
of this publication may be reproduced, stored in
retrieval system, or transmitted in any form or by
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any means, electronic, mechanical, photocopying,
recording or otherwise, without the prior written
permission of William Anderson Gittens the copy-
right owner. Typesetting, Layout Design, Illustra-
tions, and Photography by William Anderson Gittens
ISBN 978-976-96531-9-1
Published by Devgro Media Arts Services ® 2015
Email address wgittens11@gmail.com
Twitter account William Gittens @lisalaron
https://www.facebook.com/wgittens2
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https://www.linkedin.com/in/williamandersongitten-
sauthormediaartsspecialistb1886b26
https://www.youtube.com/channel/UCxYWov8tzbe5r-
Hzik528dAw
Bridgetown Barbados
https://independent.academia.edu/WilliamGittens
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RECOGNITIONS
Special thanks to the Creator for his guidance and
choosing me as a conduit to express the creative
gifts he has given me and my late parents Charles
and Ira Gittens.
Thanks to those who assisted me along this journey
namely my Beloved wife Magnola Gittens, my Broth-
ers Shurland, Charles, Ricardo, Arnott, Stephen,
Sisters Emerald, Marcella, Cheryl, Cousins Joy
Mayers, Kevin and Ernest Mayers, Donna Archer,
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Avis Dyer, Jackie Clarke, Uncles Clifford, Leonard
Mayers, David Bruce, Collin Rock.
My children Laron and Lisa.
Well-wishers Mr.and Mrs. Andrew Platizky, Mr.
Matthew Sutton, Mr.& Mrs. Gordon Alleyne, Mr. Juan
Arroyo, Mr. and Mrs. David Lavine, Mrs. Ellen Gor-
don, Dr.Nicholas Gordon, the late Dr.Joseph Drew,
Merline Mayers, Mr. and Mrs. Trevor Millington,
Mr. and Mrs. Davidson Cox,Rev. Dr. Scofield Evers-
ley and Rev. Dr. Margaret Eversley, Rev. & Mrs.
Donavon Shoemaker, Ms. Geraldine Davis, Rev.Carl
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and Rev Angie Dixon, Mrs. Gloria Rock, Rev.Pauline
Harewood, Mr. and Mrs. Stewart Russell, Mrs.
Shirley Smith, Mr. and Mrs. Felton Ince, Mr. and
Mrs. David Brathwaite, Mr.and Mrs. Ryan Miller
Mr.and Mrs. Neilo Mascoll, Rev. Zenda Phillips,
Mr. and Mrs. Robert Quintyne, Special mentioned is
given to Dr. Joseph Drew was my advisor, mentor,
and teacher during my academic tenure as a Media
Arts Major at Jersey City State College now New
Jersey City University (NJCU).
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The focus of our parting conversation was about me
honing my writing skills after I had graduated and
returned to Barbados. Between the period 1995 to
2016, I have discovered that the more that I prac-
tice this leisure pursuit profession it seemed to
be infectious among other elements.
The other elements such as being passionate and
prolific combined together with the Creator’s
help, made me a productive writer to the extent
that I have now published 179 books.
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In light of the aforesaid, I have decided to dedi-
cate my 66 Th publication “A Tribute to Culture”
Vol 1 in memory of Dr. Joseph Drew.
All of the above information contributed to my
academic developmental journey.
Author, Cinematographer, Dip., Com., Arts. B.A.
Media Arts Specialists’ EditorinChief Devgro Me-
dia Arts Services Publishing®2015 License Cultural
Practitioner, Publisher, Student of Film, CEO Dev-
gro Media Arts Services®2015
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TABLE OF CONTENTS
STATEMENT 3
COPYRIGHT 36
RECOGNITIONS 39
TABLE OF CONTENTS 44
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NORMATIVE STATEMENT 48
OVERVIEW 65
HISTORY 246
CHAPTER 1 ATTENTION TO THE SUBJECT 260
CHAPTER2 PHOTOGRAPHY CULTURE 348
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CHAPTER 3 THEORY, CULTURE & SOCIETY KEY THEO-
RISTS 361
CHAPTER 4 FUNCTIONALISM THEORY , CONFLICT
THEORY ,SYMBOLIC INTERACTIONISM. 379
CHAPTER 5 SEVEN CULTURE REGIONS IN THE WORLD 398
CHAPTER 6 RALPH LINTON’S THEORY 412
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CHAPTER 7 CULTURAL PRACTITIONERS WRITERS 471
CHAPTER 8 PERSONAL CONCLUSIONS 610
CHAPTER 9 CONCLUSIONS 792
AUTHOR 837
WORKS CITED 891
NORMATIVE STATEMENT
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Eisegesis (/ˌaɪsɪˈd"iːsɪs/) is the process of in-
terpreting text in such a way as to introduce
one's own presuppositions, agendas or biases. It
is commonly referred to as reading into the
text. It is often done to "prove" a pre-held
43
any agendas supported by it.
Eisegesis is best understood when contrasted with
exegesis. Exegesis is drawing out text's meaning
Webster (1976), New Collegiate Dictionary (8th ed.), G. & C. Merriam, p. 364, "eisegesis… the interpretation of a text (as of the Bible) by reading into it one's own
43
ideas…".
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48 933

in accordance with the author's context and dis-
coverable meaning. Eisegesis is when a reader im-
poses their interpretation of the text. Thus exe-
gesis tends to be objective; and eisegesis, highly
subjective.
The plural of eisegesis is eisegeses (/ˌaɪsɪ
ˈd"iːsiːz/). Someone who practices eisegesis is
known as an eisegete (/ˌaɪsɪˈd"iːt/); this is also
the verb form. "Eisegete" is often used in a mild-
ly derogatory way.
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Although the terms eisegesis and exegesis are com-
monly heard in association with Biblical interpre-
tation, both (especially exegesis) are broadly
used across literary disciplines.
While exegesis is an attempt to determine the his-
torical context within which a particular verse
exists—the so-called "Sitz im Leben" or life set-
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ting—eisegetes often neglect this aspect of Bibli-
cal study. :88
44
In the field of Biblical exegesis, scholars take
great care to avoid eisegesis. In this field,
eisegesis is regarded as "poor exegesis".
In the field of biblical proof texts, Christian
theologians and missionaries are often accused of
practicing eisegesis using isolated, out-of-con-
Beville, K. A., Preaching Christ in a Postmodern Culture (Newcastle upon Tyne: Cambridge Scholars Publishing, 2010), p. 88
44
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text quotations from the Christian Bible to estab-
lish a proposition or to read Christ into the He-
brew Bible.
While some denominations and scholars denounce
Biblical eisegesis, many Christians are known to
employ it—albeit inadvertently—as part of their
own experiential theology. Modern evangelical
scholars accuse liberal Protestants of practicing
Biblical eisegesis, while mainline scholars accuse
fundamentalists of practicing eisegesis. Roman
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Catholics and Orthodox Christians say that all
Protestants engage in eisegesis, because the Bible
can be correctly understood only through the lens
of Holy Tradition as handed down by the institu-
tional Church; this is articulated in the Dei ver-
bum. Protestants and fundamentalist Christians
45
likewise often accuse Roman Catholics and Orthodox
Christians of eisegesis for viewing Scripture
through Holy Tradition, and may accuse Roman
Catholics and Orthodox Christians of fabricating
or distorting tradition to support their view,
"III". Dei verbum. The Vatican. The Holy See. Retrieved 16 February 2017.
45
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which they see as opposed to the doctrine of Sola
scriptura where the text is believed to be able to
speak for itself without Holy Tradition. Jews,
46
in turn, might assert that Christians practice
eisegesis when they read the Old Testament as an-
ticipating Jesus of Nazareth.47
Exactly what constitutes Biblical eisegesis re-
mains a source of debate among theologians, but
most scholars agree about the importance of deter-
"Exegesis or Eisegesis?". www.lazyboysreststop.org. Retrieved 2019-04-07.
46
"Should Catholic tradition have equal or greater authority than the Bible?". GotQuestions.org. Retrieved 2019-04-07.
ser, W. C., Jr., The Majesty of God in the Old Testament: A Guide for Preaching and Teaching (Grand Rapids, MI: Baker Academic, 2007), pp. 16–17.
47
7.^ Roth, M. "Isaiah 53: The Suffering Servant—Cutting Through the Distortions and Mistranslations of this Enigmatic Text", Aish, May 21, 2011.
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mining the authorial intentions. Determining the
author's intent can often be difficult, especially
for books which were written anonymously.48
Exegesis (/ˌ#ksɪˈd"iːsɪs/; from the Greek $%&'()*+
from $%(',-)./*, "to lead out") is a critical expla-
nation or interpretation of a text, particularly a
religious text. Traditionally the term was used
primarily for work with the Bible; however, in
modern usage biblical exegesis is used for greater
https://en.wikipedia.org/wiki/Eisegesis
48
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specificity to distinguish it from any other
broader critical text explanation.
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tactical features in the text itself. One who
practices exegesis is called an exegete (/ˌ#k-
sɪˈd"iːt/; from Greek $%('(0&+). The plural of exe-
gesis is exegeses (/ˌ#ksɪˈd"iːsiːz/). Adjectives
are exegetic or exegetical (e.g., exegetical com-
mentaries). In biblical exegesis, the opposite of
exegesis (to draw out) is eisegesis (to draw in),
in the sense of an eisegetic commentator "import-
ing" or "drawing in" his or her own purely subjec-
tive interpretations into the text, unsupported by
the text itself. In some settings eisegesis is of-
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ten used as a derogatory term. One of the early
examples, and one of the larger corpora of text
commentaries from the ancient world, comes from
Mesopotamia (modern day Iraq) in the first millen-
nium BCE. Containing over 860 manuscripts, the ma-
jority of which date to 700–100 BCE, these commen-
taries explore numerous types of texts, including
literary works (such as the Babylonian Epic of
Creation), medical treatises, magical texts, an-
cient dictionaries, and law collections (the Code
of Hammurabi). Most of them, however, comment on
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divination treatises, in particular treatises that
predict the future from the appearance and move-
ment of celestial bodies on the one hand (Enūma
Anu Enlil), and from the appearance of a sacri-
ficed sheep’s liver on the other (Bārûtu).
As with the majority of the thousands of texts
from the ancient Near East that have survived to
the present day, Mesopotamian text commentaries
are written on clay tablets in cuneiform script.
Text commentaries are written in the East Semitic
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language of Akkadian, but due to the influence of
lexical lists written in Sumerian language on cu-
neiform scholarship, they often contain Sumerian
words or phrases as well.
Cuneiform commentaries are important because they
provide information about Mesopotamian languages
and culture that are not available elsewhere in
the cuneiform record. To give but one example, the
pronunciation of the cryptically written name of
Gilgamesh, the hero of the Epic of Gilgamesh, was
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discovered in a cuneiform commentary on a medical
text. However, the significance of cuneiform
49
commentaries extends beyond the light they shed on
specific details of Mesopotamian civilization.
They shed light on what the concerns of the
Mesopotamian literate elite were when they read
some of the most widely studied texts in the
Mesopotamian intellectual tradition, a perspective
that is important for “seeing things their way.”50
Finally, cuneiform commentaries are also the ear-
BM 54595 (CCP 4.2.R). See T. G. Pinches, “Exit Gišṭubar!”, The Babylonian and Oriental Record, vol. 4, p. 264, 1889.
49
Pollock, Sheldon (2009). "Future Philology? The Fate of a Soft Science in a Hard World". Critical Inquiry. 35 (4): 931–961. doi:10.1086/599594.
50
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liest examples of textual interpretation. It has
been repeatedly argued that they influenced rab-
binical exegesis. See Akkadian Commentaries and
Early Hebrew Exegesis
The publication and interpretation of these texts
began in the mid-19th century, with the discovery
of the royal Assyrian libraries at Nineveh, from
which ca. 454 text commentaries have been recov-
ered. The study of cuneiform commentaries is, how-
ever, far from complete. It is the subject of on-
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going research by the small, international commu-
nity of scholars who specialize in the field of
Assyriology.
Hope Bolinger made the telling point that Exegesis
would analyze all the clues presented before draw-
ing a conclusion about who took the gift card.
Eisegesis, on the other hand, would draw a conclu-
sion about who took that gift card based on your
own bias. Maybe you just simply don’t like the
tone in which your teenager speaks to you, so
maybe she took it. Or you’re just mad at your
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spouse that day, so they obviously stole the card
from you. You blame them, only to find out later
that they probably weren’t the ones to take it.
Even if they had, you didn’t use the right or most
correct approach to discovering the truth. Eisege-
sis often leads to wrong conclusions and can lead
many astray.51
51
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OVERVIEW
Wikipedia explains Eisegesis (/ˌaɪsɪˈd"iːsɪs/) is
the process of interpreting text in such a way as
to introduce one's own presuppositions, agendas or
biases . Exegesis is a critical explanation
52 53
or interpretation of a text, or according to Mari-
na Stojanović the determinant commentary that con-
notes the text which is directly linked to a par-
ticular biblical text, explicating it as the basis
and purpose of its own origination.54
https://en.wikipedia.org/wiki/Eisegesis
52
https://academic.oup.com/jaar/article-pdf/XVI/4/212/9826539/212.pdf
53
https://doi.org/10.5840/philotheos2015159
54
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Ostensibly, there is a nexus between the differing
and sometimes conflicting views as to just what is
meant by culture, plausibly; culture is an essen-
tial part of conflict and conflict resolution.55
Factually speaking verbalizing Culture is an ex-
tremely vast complex doctrine and presumably root-
ed in the theory of Eisegesis and Exegesis?
https://www.beyondintractability.org/essay/culture_conflict
55
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©2020. A word of caution though, this perception
56
certainly has to do with our cognition lens .
57
It is because aforesaid rationale in this academic
forum all things been considered exegesis is
deemed as objective; and eisegesis, as
subjective. And given the specifics and logis
58 -
tics of this topic combined with the characteris-
56
57
58
ideas….
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67 933

tics of exegesis and eisegesis, significantly in-
fluence this discourse because they underpin,
stimulate analysis, and encourage interpretation
at the same time in context of textual/transla-
The constructs objective and subjective are dif-
ferentiated because objective culture is the em-
bodying of materials such as food or clothing,
whereas; subjective culture has to do with atti-
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68 933

tudes, values, and beliefs according to Re
59 -
searchGate. However, historically, traditional so-
cieties usually share a common culture. Therefore
we global citizens who live in larger, more di-
verse societies share a mainstream culture, with
which most people can identify. Societies may also
have subcultures, alongside their normal cultures,
often based on shared values or interests, espe-
cially among immigrants and young people. Ex
60 -
plaining what is the meaning of being subjective
https://www.researchgate.net/publication/228981811_Subjective_Culture
59
60
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helps alleviate as opposed to conflate the issue
concerning exegesis and eisegesis.
The more that I demystify and navigate this con-
versation A Novel Is Culture Eisegesis Or Exege-
sis? © 2020 Vol.1 ISBN 978-976-96531-9-1 I have
61
discovered that the construct subjective has to
do with existing in the mind; belonging to the
thinking subject rather than to the object of
thought (opposed to objective) pertaining to or
61
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characteristic of an individual; personal; indi-
vidual: a subjective evaluation placing excessive
emphasis on one's own moods, attitudes, opinions,
etc.; unduly egocentric.62
In contrast, being the object or goal of one's ef-
forts or actions, not influenced by personal feel-
ings, interpretations, or prejudice; based on
facts; unbiased: an objective opinion. Not to men-
tion intent upon or dealing with things external
62
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to the mind rather than with thoughts or feelings,
as a person or a book.63
Equally, culture is derived from the Middle French
culture, which in turn is derived from Latin. In
Latin, culture is written as either cultus, colui,
colo or colere. These Latin words can mean: fos-
tering, inhabiting, cultivating, tilling, main-
taining, tending to, cherishing, worshiping, deco-
rating and adorning. The Latin colere eventually
evolved into cultura and culturae (meaning agri-
https://www.dictionary.com/browse/objective
63
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culture, cultivation, training or taking care of).
In Medieval Latin, the word used was culturare.64
This philosophize complex topic is been explain
in an expository metaphorically thru my 50mm lens.
This lens captures a very shallow depth of field
in my frames about aspects of culture at the same
time focusing my attention on the subject namely
culture by keeping it in focus while the rest of
the frame falls into creative blur such as Is Cul-
http://english-ingles.com/etymology-of-culture/
64
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ture Eisegesis Or Exegesis? © 2020 Vol.1 ISBN 978-
976-96531-9-1. The same will also be supported
65
by the ultra wide-angle lens in landscape photog-
raphy captured a wide view of culture and stretch
perspective of the foreground interest that’s
close to my camera which was also better at con-
trolling barrel distortion of culture and vi-
gnetting all of this action in culture was done in
tandem with my macro lens which allowed me to view
the world in close up transforming ordinary sub-
65
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jects which as to do with what Anthropologist E.B.
Taylor referred to Culture as “that complex whole
which includes knowledge, belief, art, morals,
law, custom, and any other capabilities and habits
acquired by a man as a member of society," a defi-
nition which Griswold notes is the “anthropologi-
cal definition of culture” that I see every day
66
into something extraordinary like an authentic
67
interpretation of culture. Just as in photography
and optics, vignetting (/vɪnˈj#tɪŋ, viːnˈ-/;
http://www.theculturelab.umd.edu/culture-as-a-way-of-life.html
66
https://digitalrev.com/2017/11/21/the-three-lenses-every-photographer-should-own/
67
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French: vignette) is a reduction of an image's
brightness or saturation toward the periphery com-
pared to the image center.
Metaphorically and philosophically I applied this
technique since culture is a medium of photogra-
phy and photography is part of culture. That said
it should be noted that in the word vignette, from
the same root as vine, originally referred to a
decorative border in a book. Later, the word came
to be used for a photographic portrait that is
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clear at the center and fades off toward the
edges. A similar effect is also visible in pho-
tographs of projected images or videos off a pro-
jection screen, resulting in a so-called "hotspot"
effect.68
Vignetting is often an unintended and undesired
effect caused by camera settings or lens limita-
tions. However in this context the topic A Novel
Is Culture Eisegesis or Exegesis? is a form mimics
vignetting because the same is applied as a con-
68
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ventional fixed narrative , and deliberately in
69 -
troduced as an abstract for creative effect, so as
to draw our attention to the focal point of this
discourse which is the frame.70
Similarly in culture I have unearthed the fact
that according to Chiara Rabbiosi and Albrto
Vanolo fictional vignettes are narrative texts
that academic researchers may invent in order to
illustrate arguments or to present their research
outcomes; they are stories or situations that do
https://www.researchgate.net/
69
70
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not strictly report factual realities observed by
the author, but that, in any case, implement the
heuristics for the arguments that the author wants
to raise. We also believe that a vignette is a
71
scene or a descriptive sketch. It might focus on a
single moment or an image, or it may give a par-
ticularly distinct impression of a character or
setting.For example a short story—no matter
how short—will have a conflict and a beginning,
middle, and end.72
https://journals.sagepub.com/
71
https://www.writingclasses.com/toolbox/ask-writer/what-is-the-difference-between-a-short-story-and-a-vignette
72
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As a student of film I am also cognisant of the
fact that a photographer may deliberately choose a
lens that is known to produce vignetting to obtain
the effect, or it may be introduced with the use
of special filters or post-processing procedures.
In the case as a license cultural practitioner I
am conscious of the fact that Culture is made up
of customs, attitudes, and beliefs that are unique
to each group of people. The same has given me
scope to can encourage and introduce new philo-
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sophical ideas and technological advances which
73
invariably lead the way to cultural change.
In this text we witnessed Cultural change can
also occur through diffusion, when contact with
other cultures and ideas are transferred.A case in
point Ralph Linton’s theory has relevance because
civilisation practiced Culture as the way of its
74
members; the collection of ideas and habits which
they learnt, are shared and transmitted from gen-
eration to another generation” satisfies the
https://study.com/academy/lesson/how-do-cultures-change.html
73
74
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tenets of exegesis because it is textual/transla-
In psychology there is a vignette in psychologi
75 -
cal and sociological experiments presents a hypo-
thetical situation, to which research participants
respond thereby revealing their perceptions, val-
ues, social norms or impressions of events. Pho-
tography connects with the world, captures histo-
ry, see the beauty in my everyday life, tell my
story, make me feel happier, experiment and learn
https://en.wikipedia.org/wiki/Vignette_(psychology)
75
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history which is consistent which ideology as
76
License Cultural Practitioner and Publisher.
That’s why from my field of view as an Author,
Student of Film, Media Arts Specialist, License
Cultural Practitioner and Publisher qualifies me
to critically explain and interpret what the orig-
inal cultural theorist meant in expressing culture
in this text A Novel Is Culture Exegesis On Cul-
ture© 2020 Vol.1ISBN 978-976-96531-9-1 in the con-
text of explicating Eisegesis and Exegesis.77
//www.quiltercheviot.com/je/private-client/insights/10-reasons-why-photography-is-important-in-todays-society/
76
77
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These are critical to this conversation especially
the theoretical question Is Culture Eisegesis or
Exegesis? © 2020 Vol.1 . In the process of ex
78 -
plaining and interpreting culture through the lens
of a photographer all of aforesaid assertions were
juxtaposed against the definition of culture and
textual/translation, literary context, historical
context, and theological communication.
Historically, Eisegesis (/ˌaɪsɪˈd"iːsɪs/) is the
process of interpreting text in such a way as to
78
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introduce one's own presuppositions, agendas or
biases. It is commonly referred to as reading into
the text. It is often done to "prove" a pre-held
79
any agendas supported by it. Eisegesis is best un-
derstood when contrasted with exegesis. Exegesis
is drawing out text's meaning in accordance with
the author's context and discoverable meaning.
Eisegesis is when a reader imposes their interpre-
79
ideas….
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tation of the text. Thus exegesis tends to be ob-
jective; and eisegesis, highly subjective.
tactical features in the text itself. Although
80
https://en.wikipedia.org/wiki/Exegesis
80
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the terms eisegesis and exegesis are commonly
heard in association with Biblical interpretation,
both (especially exegesis) are broadly used across
literary disciplines. A case in point all writ
81 -
ers regardless of our ethnicity we have subjective
point of view and therefore there is this percep-
tion that writing a text can be subjective but
this depend to some extent on the subject matter.
Therefore a biased writer may not pay attention to
all the facts or develop a logical argument to
support his or her opinions. Bias is when a state-
https://en.wikipedia.org/wiki/Main_Page
81
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ment reflects a partiality, preference, or preju-
dice for or against a person, object, or idea.
Much of what you read and hear expresses a
bias .For example History, like all subjects, is
82
subjective — given that the practitioners are sub-
jects. History is the same, only with two addi-
tional problems. First, those who create the
source documents from which historians study were
all people writing from their own subjective point
of view. In addition another criticism are
83
82
83
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Sources of Cultural Biases can be interpreting
through different frameworks which meaning is at-
tributed. Sue and Sue (1990) attributed
class, culture bound values; differences in ver-
bal, emotional, and behavioural expressiveness,
differences in causes and effect orientation, and
differences in patterns of communication. On the
84
other hand, writers can be objective too. For ex-
ample,being objective suggests that you are con-
cerned about facts and are not influenced by per-
https://www.ukessays.com/essays/sociology/the-different-sources-of-cultural-bias-sociology-essay.php
84
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sonal feelings or biases . For example If the ar
85 -
ticle has more facts than opinions it is objec-
tive. By the same token If the article has more
opinions than facts it is subjective. if the cul-
tural article has an equal number of facts and
opinions it is balanced . In addition writers use
86
writing to communicate ideas, express themselves,
inform their reader, to persuade a reader and or
to create a literary work . Yet in this context
87
there is a difference between Eisegesis and Exege-
85
86
https://sites.newpaltz.edu/owrc/wp-content/uploads/sites/16/2014/01/Purpose-Handout.pdf
87
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sis. Exegesis means using the words of the text in
Scripture, through the lens of their original con-
text, to determine their intent.
Eisegesis means reading into the text with a pre-
conceived notion we may have a view espoused by
Hope Bolinger . Objectively speaking this conver
88 -
sation invariably focuses on our attention on ver-
balizing whether Culture Is Eisegesis or Exegesis?
© 2020 but interpretation depends on my cogni
89 -
tion lens. Webster New Collegiate Dictionary
88
89
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states that exegesis is deemed as objective; and
eisegesis is deemed as subjective. Eisegesis
90
and Exegesis were introduced into this conversa-
tion to stimulate analysis and interpretation es-
pecially when it is intertwined with vignettes a
term utilised by photographers. Vignettes was
particularly useful in this space because I tried
to shed culturally-relevant light on aging and old
age-related understandings about culture but in
90
ideas….
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this context the question Is Culture Eisegesis or
Exegesis? © 2020 was answered.
91
For example individuals from each cultural context
internalize cultural values with age. These inter-
nalized cultural values become goals that guide
adult development. When individuals from differ-
ent cultures each pursue their own goals
with age, cultural differences in
socioemotional aging occur.92
91
https://academic.oup.com/gerontologist/article/53/3/369/838556
92
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In the scheme of things since subjective
culture is a society's "characteristic way of per-
ceiving its social environment" (Triandis, 1972,
p. viii, 3). It consists of ideas about what has
worked in the past and thus is worth transmitting
to future generations. Presumably could Ralph
93
Linton’s definition of Culture as the way of its
94
members; the collection of ideas and habits which
they learnt, are shared and transmitted from gen-
https://scholarworks.gvsu.edu/cgi/viewcontent.cgi?article=1021&context=orpc
93
94
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eration to another generation” can be construed as
subjective.
This expository will always be contested especial-
ly since I am arguing whether Culture Is Eisegesis
or Exegesis? © 2020. I presuppose that Culture
95
Is Eisegesis or Exegesis. According to Kieran Egan
for my claim that Culture Is Eisegesis or Exegesis
to be true, or even meaningful, my presupposition
must be true. Therefore, it would be an absurd
strategy to deal only with the claims and ignore
95
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the presuppositions; because it may well be that
our disagreements are at the level of presupposi-
tion .
96
Overall given that this text can also border on
symbolism and at the same time was philosophize
metaphorically through my lens to tell my story
that learning and unlearning and rejecting presup-
positions” is vital to any discourse a view es-
poused by Carol Upadhya . During the explication
97
process the three major theoretical approaches in-
https://www.sfu.ca/~egan/Presuppositions.html
96
https://www.jstor.org/
97
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jected toward the interpretation of culture in-
cluded a functionalist perspective, conflict theo-
rist and an interactionist perspective. The func-
tionalist perspective acknowledges that there are
many parts of culture that work together as a sys-
tem to fulfill society’s needs. Functionalists
view culture as a reflection of society’s values.
I must add that Conflict theorists see culture as
inherently unequal, based upon factors like gen-
der, class, race, and age. No to mention that an
interactionist is primarily interested in culture
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as experienced in the daily interactions between
individuals and the symbols that comprise a cul-
ture. Various cultural and sociological occur-
rences can be explained by these theories; howev-
er, there is no one “right” view through which to
understand culture. Therefore when all of data
98
was extrapolated from the research conducted.
In context this process is deemed applicable and
relevant to this discourse because exegesis tends
https://courses.lumenlearning.com/
98
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to be objective on culture; and eisegesis, is
highly subjective as it relates to culture.
99
Now that I established context, metaphorically
speaking in this academic forum thru my 50mm lens,
ultra wide-angle and my macro lens as an Author,
Student of Film,Media Arts Specialist, License
Cultural Practitioner and Publisher qualifies me
to analyse and interpret culture within the
precints of this text A Novel Is Culture Eisegesis
or Exegesis? © 2020 Vol.1ISBN 978-976-96531-9-1.
100
99
ideas….
Gittens,William Anderson ,Author, Cinematographer, Dip., Com., Arts. B.A. Media Arts Specialists’ Editor in Chief Devgro Media Arts Services
100
Publishing®2015 License Cultural Practitioner, Publisher, Student of Film, CEO Devgro Media Arts Services®2015
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Therefore at the end of the day when the prover-
bial dust was settled and all of the reasons as-
sociated with this text staged above regarding the
doctrines of exegesis namely textual/transla
101 -
theological communication lays the frame work to
solidify and validate this conversation. A Novel
Is Culture Eisegesis Or Exegesis? © 2020 Vol.1
ISBN 978-976-96531-9-1
All writers regardless of our ethnicity we have
subjective point of view and therefore there is
101
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this perception that writing a text can be sub-
jective but this depend to some extent on the sub-
ject matter. Therefore a biased writer may not pay
attention to all the facts or develop a logical
argument to support his or her opinions. Bias is
when a statement reflects a partiality, prefer-
ence, or prejudice for or against a person, ob-
ject, or idea. Much of what we read and hear ex-
presses a bias .For example History, like all
102
subjects, is subjective — given that the practi-
tioners are subjects. History is the same, only
102
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with two additional problems. First, those who
create the source documents from which historians
study were all people writing from their own sub-
jective point of view. On the other hand, writ
103 -
ers can be objective too. For example,being objec-
tive suggests that you are concerned about facts
and are not influenced by personal feelings or bi-
ases . And therefore if the article has more
104
facts than opinions it is objective. By the same
token if the article has more opinions than facts
103
104
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it is subjective. Consequently, if the cultural
article has an equal number of facts and opinions
it is balanced . In addition the writers that I
105
researched use writing to communicate ideas, ex-
press themselves, inform their reader, to persuade
a reader and or to create a literary work . In
106
the context of logic and reasonableness all writ-
ers are global citizens who posses cognitive
skills and they are subjective and objective just
105
https://sites.newpaltz.edu/owrc/wp-content/uploads/sites/16/2014/01/Purpose-Handout.pdf
106
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like cultural practitioners who are writers in-
cluding
Fredric Jameson
Ackbar Abbas
Theodor W. Adorno
Giorgio Agamben
Sara Ahmed
Ien Ang
Arjun Appadurai
Marc Augé
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Mikhail Bakhtin
Mieke Bal
Roland Barthes
Jean Baudrillard
Zygmunt Bauman
Tony Bennett
Lauren Berlant
Michael Bérubé
Homi K. Bhabha
Rustom Bharucha
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Pierre Bourdieu
danah boyd
Peter Burke
Judith Butler
Angie Chabram-Dernersesian
Rey Chow
James Clifford
William E. Connolly
Tim Cresswell
Douglas Crimp
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Jonathan Culler
Antonia Darder
Guy Debord
Michel de Certeau
Gilles Deleuze
Jacques Derrida
Richard Dyer
Michael Eric Dyson
Terry Eagleton
John Ellis
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Arturo Escobar
Frantz Fanon
John Fiske
Hal Foster
Michel Foucault
Sarah Franklin
Paulo Freire
John Frow
Néstor García Canclini
J.K. Gibson-Graham
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Paul Gilroy
Henry Giroux
Antonio Gramsci
Lawrence Grossberg
Elizabeth Grosz
William Anderson Gittens107
Felix Guattari
Jürgen Habermas
Catherine Hall
Gittens William Anderson Author, Cinematographer, Dip., Com., Arts. B.A. Media Arts Specialists’ Editor in Chief Devgro Media Arts Services Publishing®2015
107
License Cultural Practitioner, Publisher, Student of Film, and CEO Devgro Media Arts Services®2015
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Gary Hall
Stuart Hall
Donna Haraway
Michael Hardt
John Hartley
Dick Hebdige
Bob Hodge
Susan Hogan
Richard Hoggart
Bell Hooks
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Max Horkheimer
Eva Illouz
Mizuko Ito
Luce Irigaray
Annamarie Jagose
Rosi Braidotti
Henry Jenkins
Douglas Kellner
Laura Kipnis
Henry Krips
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Julia Kristeva
Ernesto Laclau
Scott Lash
Gilles Lipovetsky
Jean-François Lyotard
Herbert Marcuse
Hayden White
Jésus Martín-Barbero
Doreen Massey
Alan McKee
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Angela McRobbie
Robert McRuer
Kobena Mercer
Toby Miller
Nicholas Mirzoeff
Chandra Talpade Mohanty
Chantal Mouffe
Meaghan Morris
Hamid Naficy
Antonio Negri
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William Nericcio
Griselda Pollock
Elspeth Probyn
Janice Radway
Jacques Ranciere
Eduardo Restrepo
Nelly Richard
Andrew Ross
Edward Said
Beatriz Sarlo
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Saskia Sassen
Eve Kosofsky Sedgwick
Richard Sennett
Beverley Skeggs
Edward Soja
Sonjah Stanley Niaah
David Harvey
Gayatri Chakravorty Spivak
Sara Suleri
Tiziana Terranova
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E. P. Thompson
Tzvetan Todorov
Graeme Turner
Valentin Voloshinov
Catherine Walsh
Michael Warner
Cornel West
Raymond Williams
Paul Willis
Slavoj Žižek108
https://en.wikipedia.org/wiki/Cultural_studies
108
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The aforementioned authors formulated A theory re-
garding culture which is a contemplative and ra-
tional type of abstract or generalizing thinking
109
about a phenomenon, or the results of such think-
ing.
The process of contemplative and rational thinking
often is associated with such processes like ob-
servational study, research. Theories may either
be scientific or other than scientific (or scien-
https://en.wikipedia.org/wiki/Theory
109
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tific to less extent). Depending on the context,
the results might, for example, include generali-
zed explanations of how nature works. The word has
its roots in ancient Greek, but in modern use it
has taken on several related meanings.
It should be noted that according to Wikipedia
Theories guide the enterprise of finding facts ra-
ther than of reaching goals, and are neutral con-
cerning alternatives among values. :131 A theory
110
can be a body of knowledge, which may or may not
McMurray, Foster (July 1955). "Preface to an Autonomous Discipline of Education". Educational Theory. 5 (3): 129–140. doi:10.1111/j.1741-5446.1955.tb01131.x.
110
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be associated with particular explanatory models.
To theorize is to develop this body of
knowledge. :46
111
Further there is a perception that all cultural
theorist identities are influenced by several dif-
ferent factors such as they religion, ancestry,
skin colour, language, class, education, professi-
on, skill, family and political attitudes. These
Thomas, Gary (2007). Education and theory : strangers in paradigms. Maidenhead: Open Univ. Press. ISBN 9780335211791.
111
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factors contribute to the development of their
identity.112
Cultural Anthropologist such as Lewis Henry Mor-
gan.Franz Boas, founder of the modern discipline.
Alfred Kroeber, Ruth Benedict, Kroeber, Margaret
MeadMead. Eric Wolf,Marshall Sahlins , Sidney
Mintz, and political economy.Clifford Geertz, Da-
vid M. Schneider, of interpretive anthropology113
are also writers who also engaged in Cultural his-
https://en.wikipedia.org/wiki/Cultural_identity
112
https://en.wikipedia.org/wiki/Cultural_anthropology
113
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tory studies and interpreted the record of human
societies by denoting the various distinctive ways
of living built up by a group of people under con-
sideration. Cultural history involves the aggrega-
te of past cultural activity, such as ceremony,
class in practices, and the interaction with loca-
les.114
https://en.wikipedia.org/wiki/Cultural_history
114
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Listed below are authors, cultural theorist and
their theories who wrote extensively about cul
115 -
ture.
Fredric Jameson (born April 14, 1934) is an
116
American literary critic, philosopher and Marxist
political theorist. He is best known for his
analysis of contemporary cultural trends, particu-
larly his analysis of postmodernity and capital-
ism. Jameson's best-known books include Postmod-
115
116
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ernism, or, The Cultural Logic of Late Capital-
ism (1991) and The Political Unconscious (1981).
117
Ackbar AbbasAckbar Abbas is a professor of com
118 -
parative literature at the University of Califor-
nia, Irvine. Previously he was chair of compara-
tive literature at the University of Hong Kong and
also co-director of the Centre for the Study of
Globalization and Cultures. His research interests
include globalization, Hong Kong and Chinese cul-
ture, architecture, cinema, postcolonialism,
Postmodernism, or, the Cultural Logic of Late Capitalism. Durham, NC: Duke University Press. 1991. p. 438. ISBN 8190340328. OCLC 948832273.
117
Shrestha, Amit; Joshi, Govind; Paudel, Lalu Prasad; Sapkota, Soma Nath; Almeida, Rafael (2019-06-25). "Geology of the area between Bardibas and Sindhuli
118
Madi, Sub-Himalaya, Central Nepal". Journal of Nepal Geological Society. 58: 131–138. doi:10.3126/jngs.v58i0.24597. ISSN 2676-1378.
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and critical theory. His book Hong Kong: Culture
and the Politics of Disappearance was published by
the University of Minnesota Press in 1997. He
119
previously served as a Contributing Editor to Pub-
lic Culture, an academic journal published by Duke
University Press.120
Theodor W. AdornoTheodor W. Adorno (/ə
ˈdɔːrnoʊ/; German: [ˈteːodoːɐ̯ ʔa
121
http://www.faculty.uci.edu/profile.cfm?faculty_id=5392
119
http://www.faculty.uci.edu/profile.cfm?faculty_id=5392
120
^
Oxford Dictionary of English
121
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ˈdɔɐ̯no]; born Theodor Ludwig Wiesengrund; Sep
122 -
tember 11, 1903 – August 6, 1969) was a
German philosopher, sociologist, psychologist, mu-
sicologist, and composer known for his critical
theory of society.123
Giorgio Agamben (/əˈɡæmbən/; Italian: [aˈɡamben];
born 22 April 1942) is an Italian philosopher best
known for his work investigating the concepts of
the state of exception,form-of-life (borrowed
https://en.wikipedia.org/wiki/Theodor_W._Adorno
122
https://en.wikipedia.org/wiki/Theodor_W._Adorno
123
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from Ludwig Wittgenstein) and homo sacer. The con-
cept of biopolitics (carried forth from the work
of Michel Foucault) informs many of his
writings.124
Sara Ahmed Generally speaking, "state of excep-
tion" includes German Notstand, English state of
emergency and others martial law. Agamben prefers
using this term as it underlines the structure
of ex-ception, which is simultaneously of inclu-
Generally speaking, "state of exception" includes German Notstand, English state of emergency and others martial law. Agamben prefers using this term as it under
124 -
lines the structure of ex-ception, which is simultaneously of inclusion and exclusion. "Ex-ception" can be opposed to the concept of "example" as developed by Immanuel
Kant.
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sion and exclusion. "Ex-ception" can be opposed to
the concept of "example" as developed by Immanuel
Kant.125
May Ien Ang is Professor of Cultural Studies at
the Institute for Culture and Society at the Uni-
versity of Western Sydney (UWS), Australia, where
she was the founding director and is currently an
ARC Professorial Fellow. She is also a Fellow of
the Australian Academy of the Humanities.126
125
126
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Arjun AppaduraiArjun Appadurai is an Indian-Ameri-
can anthropologist recognized as a major theorist
in globalization studies. In his anthropological
work, he discusses the importance of the modernity
of nation states and globalization.127
Marc Augé (born September 2, 1935 in Poitiers)
128
is a French anthropologist.In an essay and book of
the same title, Non-Places: Introduction to an An-
thropology of Supermodernity (1995), Marc Augé
127
https://en.wikipedia.org/wiki/Marc_Aug%C3%A9
128
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coined the phrase "non-place" to refer to spaces
where concerns of relations, history, and identity
are erased. Examples of a non-place would be a mo-
torway, a hotel room, an airport or
a supermarket.129
Mikhail BakhtinMikhail Mikhailovich Bakhtin was a
Russian philosopher, literary critic and scholar
who worked on literary theory, ethics, and the
philosophy of language. His writings, on a variety
of subjects, inspired scholars working in a number
Cresswell, Tim (2004). Place, A Short Introduction. Short Introductions to Geography. 3. Wiley. ISBN 9781405106726.
129
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of different traditions and in disciplines as di-
verse as literary criticism, history, philosophy,
sociology, anthropology and psychology. Although
Bakhtin was active in the debates on aesthetics
and literature that took place in the Soviet Union
in the 1920s, his distinctive position did not be-
come well known until he was rediscovered by Russ-
ian scholars in the 1960s.130
Maria Gertrudis "Mieke" Bal is a Dutch cultural
theorist, video artist, and Professor Emerita in
130
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Literary Theory at the University of Amsterdam.
Previously she also was Academy Professor of the
Royal Netherlands Academy of Arts and Sciences and
co-founder of the Amsterdam School for Cultural
Analysis at the University of Amsterdam.131
Roland Gérard Barthes was a French literary theo-
rist, essayist, philosopher, critic, and semioti-
cian. Barthes's ideas explored a diverse range of
fields and he influenced the development of many
131
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schools of theory, including structuralism, semi-
otics, social theory, design theory, anthropology,
and post-structuralism. He was particularly known
for developing and extending the field of semi-
otics through the analysis of a variety of sign
systems, mainly derived from Western popular cul-
ture.132
Jean Baudrillard was a French sociologist,
philosopher and cultural theorist. He is best
known for his analyses of media, contemporary cul-
132
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ture, and technological communication, as well as
his formulation of concepts such as simulation and
hyperreality. He wrote about diverse subjects, in-
cluding consumerism, gender relations, economics,
social history, art, Western foreign policy, and
popular culture. Among his best known works
are Seduction (1978), Simulacra and
Simulation (1981), America (1986), and The Gulf
War Did Not Take Place (1991). His work is fre-
quently associated with postmodernism and specifi-
cally post-structuralism.133
133
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Zygmunt Bauman was a Polish-British sociologist
and philosopher. He was driven out of the Polish
People's Republic during the 1968 Polish political
crisis and forced to give up his Polish citizen-
ship. He emigrated to Israel; three years later he
moved to the United Kingdom. He resided in England
from 1971, where he studied at the London School
of Economics and became Professor of Sociology at
the University of Leeds, later Emeritus. Bauman
was a social theorist, writing on issues as di-
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verse as modernity and the Holocaust, postmodern
consumerism and liquid modernity.134
Tony BennettTony Bennett is a British sociologist
who has held academic positions in the United
Kingdom and Australia. His work focusses on cul-
tural studies and cultural history.135
Lauren BerlantLauren Berlant is the George M.
Pullman Distinguished Service Professor of English
134
135
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at the University of Chicago, where she has been
teaching since 1984. Berlant received her PhD from
Cornell University. She writes and teaches on is-
sues of intimacy and belonging in popular culture,
in relation to the history and fantasy of citizen-
ship.136
Michael Bérubé is Edwin Erle Sparks Professor of
Literature at Pennsylvania State University, where
he teaches American literature, disability stud-
136
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ies, and cultural studies. He is the author of
several books on cultural studies, disability
rights, liberal and conservative politics, and de-
bates in higher education. From 2010 to 2017, he
was the Director of the Institute for the Arts and
Humanities at Penn State; from 1997 to 2001 he was
the founding director of the Illinois Program for
Research in the Humanities. He was the 2012 presi-
dent of the Modern Language Association, and
served as vice president from 2010–2011. He served
two terms on the National Council of the American
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137 933

Association of University Professors from 2005 to
2011, and three terms on the AAUP's Committee A on
Academic Freedom and Tenure from 2009 to 2018. He
was a member of the International Advisory Board
of the Consortium of Humanities Centers and Insti-
tutes for two terms, 2011-2017. Bérubé was named a
University Scholar for research at the University
of Illinois in 1995 and was awarded the Faculty
Scholar medal for research from Penn State in
2012.137
137
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Homi K. Bhabha is an Indian English scholar and
critical theorist. He is the Anne F. Rothenberg
Professor of the Humanities at Harvard University.
He is one of the most important figures in contem-
porary post-colonial studies, and has developed a
number of the field's neologisms and key concepts,
such as hybridity, mimicry, difference, and am-
bivalence. Such terms describe ways in which
colonised people have resisted the power of the
coloniser, according to Bhabha's theory. In 2012,
he received the Padma Bhushan award in the field
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of literature and education from the Indian gov-
ernment. He is married to attorney and Harvard
lecturer Jacqueline Bhabha, and they have three
children.138
Rustom Bharucha is an independent Indian non-fic-
tion writer, director and cultural critic. He is
currently Professor of Theatre and Performance
Studies in the School of Arts and Aesthetics at
Jawaharlal Nehru University, New Delhi, India.139
138
139
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Pierre BourdieuPierre Bourdieu was a French soci-
ologist, anthropologist, philosopher and public
intellectual. Bourdieu's major contributions to
the sociology of education, the theory of sociolo-
gy, and sociology of aesthetics have achieved wide
influence in several related academic fields, pop-
ular culture, and the arts. During his academic
career he was primarily associated with the School
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for Advanced Studies in the Social Sciences in
Paris and the Collège de France.140
Danah Boyd is a technology and social media schol-
ar. She is a partner researcher at Microsoft Re-
search, the founder and president of Data & Soci-
ety Research Institute, and a visiting professor
at New York University.141
140
141
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Ulick Peter Burke is a British historian and pro-
fessor. He was born to a Roman Catholic father and
Jewish mother.142
Judith Pamela Butler is an American philosopher
and gender theorist whose work has influenced po-
litical philosophy, ethics, and the fields of
third-wave feminist, queer, and literary theory.
In 1993, they began teaching at the University of
California, Berkeley, where they have served, be-
ginning in 1998, as the Maxine Elliot Professor in
142
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the Department of Comparative Literature and the
Program of Critical Theory. They are also the Han-
nah Arendt Chair at the European Graduate
School.143
AnProfessor Angie Chabram-Dernersesian is a Full
Professor at the University of California,
Davis.144
143
144
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Rey Chow is a cultural critic, specializing in
20th-century Chinese fiction and film and post-
colonial theory. Educated in Hong Kong and the
United States, she has taught at several major
American universities, including Brown University.
Chow is currently Anne Firor Scott Professor of
Literature in Trinity College of Arts and Sciences
at Duke University.145
145
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James Clifford is an interdisciplinary scholar
whose work combines perspectives from history,
literature, and anthropology.146
William Eugene Connolly is a political theorist
known for his work on democracy, pluralism, capi-
talism and climate change. He is the Krieger-
Eisenhower Professor of Political Science at Johns
Hopkins University. His 1974 work The Terms of Po-
146
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litical Discourse won the 1999 Benjamin Lippincott
Award.147
Tim Cresswell is a British human geographer and
poet. Cresswell is the Ogilvie Professor of Human
Geography at the University of Edinburgh having
formally served as the Dean of the Faculty and
Vice President for Academic Affairs at Trinity
College, Hartford, Connecticut. He is a human geo-
grapher by training and the author of six books on
the role of place and mobility in cultural life,
147
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co-editor of four collections and an inaugural
managing editor of the journal, "GeoHumanities".
Cresswell is a leading figure in the mobilities
paradigm. Tim Cresswell is also a poet and the au-
thor of three collections published by Penned in
the Margins "Soil" (2013), "Fence" (2015) and
"Plastiglomerate" (2020). "Fence" was a result of
Cresswell's participation in the artist Alex Hart-
ley's nowhere island project.148
John Douglas Crimp was an American art historian,
critic, curator, and AIDS activist. He was known
148
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for his scholarly contributions to the fields of
postmodern theories and art, institutional cri-
tique, dance, film, queer theory, and feminist
theory. His writings are marked by a conviction to
merge the often disjunctive worlds of politics,
art, and academia. From 1977 to 1990, he was the
managing editor of the journal October. Before his
death, Crimp was Fanny Knapp Allen Professor of
Art History and professor of Visual and Cultural
Studies at the University of Rochester.149
149
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Jonathan Culler is an American literary critic. He
is Class of 1916 Professor of English and Compara-
tive Literature at Cornell University. His pub-
lished works are in the fields of structuralism,
literary theory and literary criticism.150
Antonia Darder is an American scholar, artist,
poet and activist. She holds the Leavey Presiden-
tial Endowed Chair in Ethics and Moral Leadership
150
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in the School of Education at Loyola Marymount
University. She also is Professor Emerita of Edu-
cational Policy, Organization, and Leadership at
the University of Illinois at Urbana-Champaign.151
Guy Louis Debord was a French Marxist theorist,
philosopher, filmmaker, member of the Letterist
International, founder of a Letterist faction, and
founding member of the Situationist International
151
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(SI). He was also briefly a member of Socialisme
ou Barbarie.152
Michel de Certeau was a French Jesuit and scholar
whose work combined history, psychoanalysis, phi-
losophy, and the social sciences. He was known as
the philosopher of everyday life and widely re-
garded as a historian with interests ranging from
travelogues of the sixteenth and seventeenth cen-
turies to contemporary urban life.153
152
153
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Gilles Deleuze was a French philosopher who, from
the early 1950s until his death in 1995, wrote on
philosophy, literature, film, and fine art. His
most popular works were the two volumes of Capi-
talism and Schizophrenia: Anti-Oedipus (1972)
and A Thousand Plateaus (1980), both co-written
with psychoanalyst Félix Guattari. His metaphysi-
cal treatise Difference and Repetition (1968) is
considered by many scholars to be his magnum opus.
An important part of Deleuze's oeuvre is devoted
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to the reading of other philosophers: the Stoics,
Leibniz, Hume, Kant, Nietzsche, and Bergson, with
particular influence derived from Spinoza. A. W.
Moore, citing Bernard Williams's criteria for a
great thinker, ranks Deleuze among the "greatest
philosophers". Although he once characterized him-
self as a "pure metaphysician", his work has in-
fluenced a variety of disciplines across the hu-
manities, including philosophy, art, and literary
theory, as well as movements such as post-struc-
turalism and postmodernism.154
154
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A Novel Is Culture Eisegesis Or Exegesis 2020 Vol.1 ISBN 978-976-96531-9-1

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