Henry Giroux

Henry Giroux
Henry Giroux, is an American and Canadian scholar and cultural critic. One of the founding theorists of critical pedagogy in the United States, he is best known for his pioneering work in public pedagogy, cultural studies, youth studies, higher education, media studies, and critical theory. In 2002 Routledge named Giroux as one of the top fifty educational thinkers of the modern period...
NationalityAmerican
ProfessionCritic
Date of Birth18 September 1943
CountryUnited States of America
When you begin to suggest that dissent, opposition, resistance, the only way to deal with it is not to listen to it and to engage in dialog with it, but basically to label it as anarchy and to repress it with the most violent, in the most violent means possible. I mean, that's essentially an element of neofascism. That's not about democracy.
What is invaluable about Angela Davis work is that she does not limit her politics to issues removed from broader social considerations, but connects every aspect of her scholarship and public interventions to what the contours of a truly democratic society might look like.
Collective freedom is one devoid of material bondage and one that supports the institutions necessary for democracy.
Getting ahead cannot be the only motive that motivates people. You have to imagine what a good life is.
I also think that one of the things we often fail to realize is that that kind of violence is now legitimated in multiple public spheres.
The ideology of hardness and cruelty runs through American culture like an electric current...
While the universities are increasingly corporatized and militarized, their governing structures are becoming more authoritarian, faculty are being devalued as public intellectuals, students are viewed as clients, academic fields are treated as economic domains for providing credentials, and work place skills, and academic freedom is under assault.
Cinema is consistently making a claim to particular memories, histories, ways of life, identities, and values that always presuppose some notion of difference, community, and the future. Given that films both reflect and shape public culture, they cannot be defined exclusively through a notion of artistic freedom and autonomy that removes them from any form of critical accountability.
We no longer have the public spheres available to be able to contest that violence. We don't see it in the mainstream media, we no longer see it in the schools. I mean, this endless criminalization, militarization, of every form of behavior, I mean, strikes me as one of the most dangerous and one of the most ever-growing threats to the United States, of which that speech exemplifies perfectly, and which [Donald] Trump exemplifies with the endless call for law and order.
All too often the worst thing that can happen to the young is to depoliticize them. When that happens, not only are young people told that they do not count - your agency is worthless, your experiences are worthless, and your voice should remain silent - but they are also told that there is no alternative to current state of affairs.
As the humanities and liberal arts are downsized, privatized, and commodified, higher education finds itself caught in the paradox of claiming to invest in the future of young people while offering them few intellectual, civic, and moral supports.
We need to educate young people to deal with new modes of education that are emerging with the new electronic technologies and we need to educate them to not only learn how to critically read this ubiquitous screen culture but also how to be cultural producers.
I think that what people have failed to talk about is white supremacy.
But we need more than a broader understanding of what is a good society or a moral and political critique of the existing market fundamentalism engulfing American society, we also need to create new forms of solidarity, new and broad based social movements that move beyond the isolated and fractured politics of the current historical moment.