Utilizing an evolutionary perspective has proven fruitful in a number of areas of interest outside of the standard psychological or anthropological topics. This includes a wide range of fields from applied disciplines such as law, criminology, medicine, and marketing, to the study of the imagined worlds found in art and literature, the domains of the humanities. A number of excellent books, as well as numerous articles, detail the impressive work done in applying evolutionary insights to the study of art (...) and literature. This article focuses on evolutionarily informed explorations of popular culture, an area that, only relatively recently, has benefited from research taking this approach. The existing scholarship in this area will be reviewed, and future directions and challenges highlighted. (shrink)

This paper gives an overview of the placebo effect in popular culture, especially as it pertains to the work of authors Patrick O’Brian and Sinclair Lewis. The beloved physician as placebo, and the clinician scientist as villain are themes that respectively inform the novels, The Hundred Days and Arrowsmith. Excerpts from the novels, and from film show how the placebo effect, and the randomized clinical trial, have emerged into popular culture, and evolved over time.

Cultural studies constitutes one of the most multi-perspectival research fields. Amidst a polyvocal theoretical landscape that spans different disciplines semiotics is of foundational value. In an attempt to effectively address the conceptual richness of the semiotic discipline, a wide roster of perspectives is evoked in this book against the background of a diverse set of cultural phenomena, including structuralist and post-structuralist semiotics, semiotically informed psychoanalysis, cultural semiotics, film semiotics, sociosemiotics, but also, to a lesser extent, music semiotics and more niche, (...) but certainly promising perspectives, such as postmodern semiotics, ethnosemiotics, phenomenological semiotics and rhetorical semiotics. The recruitment of semiotic frameworks and concepts is enacted against the background of advances in cultural studies (thus reinstating the dialogue with a discipline that took form by drawing on semiotics in the first place) and the various research streams that have become consolidated within the wider cultural studies territory, such as memory studies, celebrity studies, death studies, cultural geography, visual studies. At the same time, the offered readings engage dialogically with Consumer Culture Theory. As regards the diversity of cultural phenomena that constitute the empirical substratum of the offered analyses, music, cinema, new media, live-shows, branding, advertising and literature constitute the focal areas of concern. Under the aegis of a permeating textuality paradigm, the ubiquitously applicable tools of multimodal analysis, and time-hallowed qualitative research methods facilitated by advances in videography and archival research, the featured semiotic readings aim at scrutinizing the wider social implications and communicative functions of popular cultural artefacts, spectacles, processes and places, such as Lady Gaga’s monstrosity, Dio’s memorial, experiential consumption events, the ice-bucket challenge video meme. (shrink)

Much philosophical work on pop culture apologises for its use; using popular culture is a necessary evil, something merely useful for reaching the masses with important philosophical arguments. But works of pop culture are important in their own right--they shape worldviews, inspire ideas, change minds. We wouldn't baulk at a book dedicated to examining the philosophy of The Great Gatsby or 1984--why aren't Star Trek and Superman fair game as well? After all, when produced, the former (...) were considered pop culture just as much as the latter. This will be the first major reference work to right that wrong, gathering together entries on film, television, games, graphic novels and comedy, and officially recognizing the importance of the field. It will be the go-to resource for students and researchers in philosophy, culture, media and communications, English and history and will act as a springboard to introduce the reader to the other key literature in the field. (shrink)

This volume addresses the relationship between irony and popular culture and the role of the consumer in determining and disseminating meaning. Arguing that in a cultural climate largely characterised by fractious communications and perilous linguistic exchanges, the very role of irony in popular culture needs to come under greater scrutiny, it focuses on the many uses, abuses, and misunderstandings of irony in contemporary popular culture, and explores the troubling political populism at the heart of (...) many supposedly satirical and (apparently) non-satirical texts. In an environment in which irony is frequently claimed as a defence for material and behaviour judged controversial, how do we, as a society entrenched in forms of popular culture and media, interpret work that is intended as satire but which reads as unironic? How do we accurately decode works of popular film, literature, television, music, and other cultural forms which sell themselves as bitingly ironic commentaries on current society, but which are also problematic celebrations of the very issues they purport to critique? And what happens when texts intended and received in one manner are themselves ironically recontextualised in another? Bringing together studies across a range of cultural texts including popular music, film and television, Isn't it Ironic? will appeal to scholars of the social sciences and humanities with interests in cultural studies, media studies, popular culture, literary studies and sociology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:When Did Literature Stop Being Cultural?Sandy Petrey (bio)Debate over the future of French Studies in the United States has sometimes neglected a vital fact: even though the field of French Studies incorporates everything relevant to the francophone world, no single department of French Studies can be that comprehensive. If we want to teach anything serious, we must focus our collective energy and intellect on some manageable component of (...) the many topics French Studies can legitimately address. To try to cover everything is to condemn ourselves to watered-down, dumbed-down versions of history, political science, art, economics, sociology, and the many other areas pertinent to things French.I believe the makeup of French departments in the United States means that our dominant focus should remain literary. Since we aren’t going to retool ourselves so spectacularly as to master all the disciplinary perspectives relevant to the francophone world, we have to make choices. As far as I can see, the best choice is an orientation toward literary criticism, the area in which most productive scholars in French departments in the United States were trained. We’ve learned how to deal with words, and chances are very good that we will do more things that deserve doing if we address words than if we address immigration statistics, changing styles on Maghreb dance floors, or the status attached to owning a pit bull in French housing projects.This doesn’t mean that immigration statistics, dance styles, and pit bulls are forbidden topics, just that we can best approach them if our primary focus remains literary while we open secondary focuses onto other areas. Those openings can renew our field without compromising our identity, allow us to adopt the interdisciplinary concerns animating cultural studies without repudiating literature’s traditional place in foreign language programs. I categorically reject the idea that the literary studies/cultural studies opposition is absolute, that concentrating on literature imposes the necessity of ignoring dance floors and pit bulls. My answer to the question in my title, “When did literature stop being cultural?,” is that it didn’t, whether we take “cultural” in the dirty-word sense of “high culture” or the buzzword sense of “cultural studies.” Literature’s credentials among the accomplishments of high culture matter to language departments in a great many ways, but more relevant to current professional concerns is that cultural studies can address the monuments of the French literary tradition as well as the monuments of French reaction to the Spice Girls. To impose a choice between literary studies and cultural studies strikes me as horribly misguided, something like imposing a choice between breathing and eating.Yet that choice is being imposed with more and more insistence, its suicidal consequences accepted with less and less concern. At times, those preaching an either/or approach have done so in defense of literature, and I refuse the idea that literature is Emerson’s “jealous mistress” who tolerates nothing else in her domain. To study either high culture or popular culture as if the other were unworthy of concern impoverishes both, which means the literary studies/cultural studies binary is pernicious no matter which side defends it. Although the either/or model has sometimes been asserted in the [End Page 12] name of literature’s integrity, however, its most influential recent articulations have come from partisans of cultural studies. The sides have changed. Instead of the argument that the nature of cultural studies means it must be excluded from literary analysis, we now hear that the nature of literary analysis means that it must be excluded from cultural studies.Let me take as evidence the MLA’s most recent publication on trends in language and literature departments, Profession 1997, and the Russell Berman article it contains, a brief for a new form of “Graduate Education toward a Foreign Cultural Literacy.” Berman’s essay makes a strong and informed argument for interdisciplinarity, the best features of which have in Berman’s representation come together to create cultural studies. Throughout this argument, I find the scary logical and political missteps endemic to recent contentions that cultural studies and literary studies are mutually exclusive. Berman’s essay is doubly... (shrink)

For synergistic interactions between humans and artificial intelligence (AI) systems, AI outputs often need to be explainable to people. Explainable AI (XAI) systems are commonly tested in human user studies. However, whether XAI researchers consider potential cultural differences in human explanatory needs remains unexplored. We highlight psychological research that found significant differences in human explanations between many people from Western, commonly individualist countries and people from non-Western, often collectivist countries. We argue that XAI research currently overlooks these variations and that (...) many popular XAI designs implicitly and problematically assume that Western explanatory needs are shared cross-culturally. Additionally, we systematically reviewed over 200 XAI user studies and found that most studies did not consider relevant cultural variations, sampled only Western populations, but drew conclusions about human-XAI interactions more generally. We also analyzed over 30 literature reviews of XAI studies. Most reviews did not mention cultural differences in explanatory needs or flag overly broad cross-cultural extrapolations of XAI user study results. Combined, our analyses provide evidence of a cultural bias toward Western populations in XAI research, highlighting an important knowledge gap regarding how culturally diverse users may respond to widely used XAI systems that future work can and should address. (shrink)

These essays highlight the shifting sets of relationships which determine the forms taken by desire. They argue that the spread of the subject within and across geographic, ethnic, class and gender boundaries makes a difference to the ways in which desire is theorized, experienced and represented.

The article is devoted to reception of Austrian literature before the Second World War in Wiadomości Literackie. It was the most popular letter, whose aim was to educate society, and popularize foreign literature and culture. The literature that was most often promoted was French literature, but also German-speaking authors were discussed. Austrian literature was not treated as distinct from German literature during that time but nontheless, the articles presents artists, of Austrian origin: (...) Joseph Roth, Stefan Zweig, Rainer Maria Rilke, Hugo von Hofmannsthal, Arthur Schnitzler, Odon von Horváth, Franz Werfel and others. The article examines interviews with these writers as well as reviews their books and other texts which appeared in Wiadomości Literackie. (shrink)

The Celebration of Death in Contemporary Culture investigates the emergence and meaning of the cult of death. Over the last three decades, Halloween has grown to rival Christmas in its popularity and profitability; dark tourism has emerged as a rapidly expanding industry; and funerals have become less traditional. "Corpse chic" and "skull style" have entered mainstream fashion, while elements of gothic, horror, torture porn, and slasher movies have streamed into more conventional genres. Monsters have become pop culture heroes: (...) vampires, zombies, and serial killers now appeal broadly to audiences of all ages. This book considers, for the first time, these phenomena as aspects of a single movement, documenting its development in contemporary Western culture. Previous considerations of our fixation on death have not developed a convincing theory linking the mounting demand for images of violent death and the dramatic changes in death-related social rituals and practices. This book offers a conceptual framework that connects the observations of the simulated world of fiction and movies--including The Twilight Saga, The Vampire Diaries, Night Watch, Hannibal, and the Harry Potter series--to social and cultural practices, providing an analysis of the specific aesthetics and the intellectual and historical conditions that triggered the cult of death. It also considers the celebration of death in the context of a longstanding critique of humanism and investigates the role played by 20th-century French theory, as well as by posthumanism, transhumanism, and the animal rights movement, in the formation of the current antihumanist atmosphere. With its critique of movie and book blockbusters and the death-related social rituals, festivals, and fashions that have coalesced into the cult of death, this timely volume will appeal to anyone hoping to better understand a defining phenomenon of our age. Scholars and general readers of cultural studies, film and literary studies, anthropology, and American and Russian studies will find this book thought-provoking. (shrink)

The relevance of the research is due to the interest of modern science in the successful experience of comprehending social reality and of social forecasting in forms nontrivial for systematic rational thinking. T topic is especially important in the context of global instability, in which human civilization has been living for the last decades. The main question is the possible existence of a critical philosophy in terms of the ideological pressure of the Soviet period. The author substantiates the hypothesis that (...) children’s literature could be a form of free development of philosophical thinking, permissible in these circumstances. The research is of practical value to humanities scholars studying Soviet and post-Soviet period Russian culture, literature, philosophy, regardless of their theoretical and ideological orientations, since it examines the philosophical aspects in the works by the Soviet children’s writer Nikolai Nosov, author of trilogy about Dunno (rus. Neznajka), and not well-known abroad. The article justifies the opinion that Nosov’s creative heritage is underestimated both in Russian and foreign humanities and not sufficiently analyzed. Through the analysis of N. Nosov’s texts, undertaken by Russian and foreign scholars and publicists (among which L. Abdel-Rahim and L. Karawan deserve a special mention), implicit social and philosophical ideas are revealed, and the basic social forecasting is determined in relation to the society of ‘developed socialism’. Marxist philosophy had a significant impact on N. Nosov’s worldview; however, the writer is alien to the ideological blinders of the dominant forms of Soviet philosophy. Nosov’s Marxism in the form of popular ‘children’s’ discourse suddenly finds itself able to effectively implement critical and prognostic function of philosophy. Being decades ahead of Soviet ideologists and philosophers in this respect, N. Nosov convincingly showed the problem nature of ‘developed socialism’. An important diagnosis of this society and a forecast for its future is possible ‘breakdown’ of the historical process (despite scientific and technical achievements) due to the insufficient level of culture and consciousness, the immaturity of social relations. (shrink)

The avant-garde has been popular for some time, but its popularity has tended to fly under the radar. This ¿popular avant-garde,¿ conceived as the meeting ground of the avant-garde and popular, avoids the divorce of art and praxis of which the avant-garde has been accused. The Popular Avant-Garde takes stock of the debates about both the ¿historical¿ (¿modernist¿) and posterior avant-gardes, and sets them in relation to popular culture and art forms. With a critical (...) introduction that examines the concepts of ¿the avant-garde,¿ ¿the popular,¿ and ¿the popular avant-garde,¿ the series of essays analyzes the way in which the avant-garde employs popular genres for political purposes, as well as how the popular acquires a critical function with respect to the avant-garde. Each of the volume¿s three sections considers a different aspect of the productive exchange between the avant-garde and popular: the popular avant-garde as a culturally hybrid and cross-border phenomenon; the play between the popular avant-garde and developments in media and technology; and the popular avant-garde¿s upending of conventional ideas about ¿the people¿ and ¿the popular.¿ The Popular Avant-Garde takes a fresh look at the now canonical Dadaist, Futurist, and Surrealist movements from the perspectives of gender and sexuality, and cultural and critical theory, while at the same time exploring less well-known avant-garde work in literature, film, television, music, photography, dance, sculpture, and the graphic arts. This volume¿s coverage of the American and Afro-American, Luso-Brazilian and Latin-American, East-European, and Scandinavian avant-gardes, in addition to the vanguards of Spain and other parts of Western Europe, will appeal to all those interested in avant-garde and popular art forms. (shrink)

These essays showcase the value of the narrative arts in investigating complex conflicts of value in moral and political life, and explore the philosophical problem of moral dilemmas as expressed in ancient drama, classic and contemporary ...

Mass culture is regarded as space of realization of different forms of escapism, which is understood as the result of human desire to get liberated from the routines of everyday life. Escapism, which has existed in different epochs and in different cultures, has become wide spread today. The reasons are, on the one hand, the extension of the realm of everyday life, demythologization of culture, on the other – great technological opportunities, which allow the escapist to construct his (...) own fantastic worlds with the help of new technologies. In mass culture the escapist gets a lot of opportunities to implement his fantasies, which may have different and contradictory consequences for real life. Such forms of escapism have been examined as fantasies embodied in different literary genres and screen forms, mass tourism, creating attractive images of «Orient», and virtual reality as the most important space for creating «other-worldliness». Mass culture, with its cult of game and entertainment, creates rich possibilities for different forms of escapism. Popular literature allows the reader to get immersed in the romantic world of love or a fantastic fairy tale. Screen arts, from cinema to computer art, make this immersion still deeper and more exciting, and virtual reality, which has embraced the whole world with the advent of computer era, drags in both children and adults, creating new worlds, where people choose their identity by themselves, construct their surroundings. Cultural industry creates new forms of entertainment and games with its commercial profit in view, but for an individual a quest for «other worlds» may turn into a dramatic break with reality. (shrink)

In the ever-expanding field of nuclear history, studies of ‘nuclear culture’ are becoming increasingly popular. Often situated within national contexts, they typically explore responses to the nuclear condition in the cultural modes of literature, art, music, theatre, film and other media, as well as nuclear imagery more generally. This paper offers a critique of current conceptions of ‘nuclear culture’, and argues that the term has little analytical coherence. It suggests that historians of ‘nuclear culture’ have (...) tended to essentialize the nuclear to the detriment of historical analysis, and that the wide variety of methodological approaches to ‘nuclear culture’ are simultaneously a strength and a more significant weakness, in that they have little shared sense of the meaning of the term, its theoretical underpinnings or its analytical purchase. The paper then offers a study of Ewan MacColl's 1946 playUranium 235, whose career reveals much about the diversity of cultures of the nuclear in post-war Britain. The study moves us away from a single, homogeneous ‘British nuclear culture’ towards a pluralistic critical history of cultural responses to nuclearization. These responses, I conclude, should be seen as collectively constitutive of the nuclear condition rather than as passive reflections of it. (shrink)

Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in (...) a variety of ways--through personal experience, natural history, cultural studies, philosophical inquiry, art history, literary analysis, film studies, and theoretical imagining, and through a combination of these trains of thought. The essays expose weaknesses in western epistemological frames of reference that for centuries have limited our views and, thus, our experiences of animal being, including our own. (shrink)

This article explores the legacy of ancient Egypt in popular culture, from the 19th century onwards - through the theme of consumption. A range of media is covered including literature, film and performance. I argue that Egypt has been a constant mirror for contemporary culture in terms of the body, sexuality and the Orient. In the West, Egyptian bodies have always been consumed, literally or metaphorically and in the 1990s a commodified Egypt has to extend beyond (...) normative sexuality. Thus, Egypt has to be queered and to illustrate this ultimate process of othering I consider the film, Stargate. (shrink)

The Chinese traditional culture includes three systems of thought: Confucianism, Daoism and Buddhism. The first two are Chinese culture, and Buddhism is a foreign religion introduced from India. Although there had been conflicts among the three systems of thoughts, but integration is the mainstream in the development of Chinese cultural thought. Thus, Chinese culture has developed into a system by uniting the three religions into one with Confucianism at the centre supported by Daoism and Buddhism. For over (...) 2,000 years, Buddhism has interacted with all levels of Chinese culture such as literature, philosophy, morality, arts, architecture and religions. As a result, Buddhism has successfully integrated into the traditional Chinese culture and has become one of the three pillars. In this paper, I will discuss the Buddhist impact on Chinese culture from the following four points: (1) philosophy and moral teaching; (2) religions and popular beliefs; (3) language and literature; and (4) art and architecture. (shrink)

Games are among cultural manifestations of human communities which have continued to exist since the ancient times and developed during peaceful times; in the Qajar era, during the reign of Nasser-al-Din Shah, because relative peace and prosperity was brought about, the people, especially courtiers, showed great interest in games and spent some of their daily life on it. In this article we have attempted to present some of the angles and dimensions of a number of these games using the itineraries (...) of orientalists and histories and works of that period. In this regard, we have borne in mind time, venue, extensiveness, customs and the reflection of these games in literature and based on evidences demonstrated that Qajar era is one of the most prominent periods in Iranian history and culture regarding the diversity and colorfulness of these games. Skillfulness of game players, large bets, struggles and arguments between opponents, special formalities, etc., are all the criteria for the acceptability and popularity of games in this age, which have been put into consideration. (shrink)

What is the cultural value of illegal works that violate the copyrights of popular fiction? Why do they persist despite clear and stringent intellectual property laws? Drawing on the disciplines of new media, law, and literary studies, Illegal Literature suggests that extralegal works such as fan fiction are critical to a system that spurs the evolution of culture. Reconsidering voices relegated to the cultural periphery, David S. Roh shows how infrastructure--in the form of legal policy and network (...) distribution--slows or accelerates the rate of change. He analyzes the relationship between intellectual property rights and American literature in two recent copyright disputes. And, in comparing American fan fiction and Japanese dojinshi, he illustrates how infrastructure and legal climates detract from or encourage fledgling creativity. Illegal Literature fills a crucial gap between the scholarly and the popular by closely examining several modes of marginalized cultural production. Roh makes the case for protecting an environment conducive to literary heresy, the articulation of an accretive rather than solitary authorial genius, and the idea that letting go rather than holding on is important to a generative creative process. In a media ecology inundated by unauthorized materials, Illegal Literature argues that the proliferation of unsanctioned texts may actually benefit literary and cultural development. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Aesthetics of Cultural StudiesPaul DuncumThe Aesthetics of Cultural Studies, edited by Michael Bérube. Malden, MA: Blackwell, 2005, 208 pp., $26.95 paper, $67.95 cloth.This new anthology of ten chapters and a chapter-length introduction by the editor is primarily intended to act as a corrective to the view that cultural studies is uninterested in aesthetics. Contributors argue that while some cultural studies scholars have given this impression, either abandoning (...) the term "aesthetics" or explicitly rejecting the tradition of philosophical aesthetics, cultural studies has been, from its origins in England in the early 1960s, deeply concerned with aesthetic issues. Cultural studies is properly understood, contributors argue, as being born out of a desire to extend aesthetic considerations to a wider range of artifacts and experiences than had hitherto been allowable within the modernist philosophical tradition of aesthetics derived from Kant. Contributors deal with many debates within the field of cultural studies—unsurprisingly mostly to do with turf wars within universities—but I will focus here specifically on what they have to say about aesthetics, though I cannot do justice to the multiplicity of views developed by different authors.Since contributors are primarily from North America, where cultural studies has mainly taken root in the English departments of universities, the cultural form most commonly discussed is literature. Exceptions include David Sanjek's chapter, which focuses on popular music, and Steven Rubio's chapter, which deals playfully with phenomenological intertextuality between classical music and popular cartoons. Most of the issues addressed by contributors also apply to other traditional arts, though not, I will argue below, to many contemporary forms of popular cultural experience.Contributors are especially concerned to defend themselves against charges that, in Rorty's view, cultural studies equates to "expressions of political resentment clothed in jargon," or in George Levine's characterization of this position, as "seeing the text as a kind of enemy to be arrested," where the text is reduced to context and the truth of art is denied in favor of the truth of politics (as cited in Rita Felski's chapter). For such critics, cultural studies equates with ideology critique and represents the death of aesthetics. Not so, according to each of these authors. John Frow, for example, argues that from its inception it was not aesthetics per se that cultural studies objected to but the then normative discourse of aesthetics that was positioned above politics.Several authors are concerned to establish the credentials of cultural studies as a unique way of approaching culture and not just any running together of culture and politics. Felski complains of a "semantic drift," which sees cultural studies mischaracterized and condemned for sins that rightly belong to other fields.Complicating a search for the uniqueness of cultural studies, however, is Jonathan Sterne's contribution in what seems a significantly revisionist position. He claims that in cultural studies culture has had to carry too heavy a burden. Culture has been a conduit to politics, he argues; studying culture has been a way of studying politics by other means, and he suggests that sometimes culture can simply be enjoyed for its own sake and not subject to analysis. David Shumway, too, at times just wants to enjoy culture. In the everyday course of living this is surely right, though it is hardly at the center of the scholarly cultural studies' enterprise. As other contributors argue, cultural studies has always seen the need for striking a balance between aesthetics and [End Page 113] ideology. Sterne's unease with cultural studies for seeing aesthetics primarily in instrumental terms—a way of getting at politics—nevertheless serves as a corrective to the idea that cultural studies scholars have a hard time understanding pleasure.Most contributors acknowledge the influence of Raymond Williams—as well they might—and several cite, even at length, from the chapter "Aesthetic and Other Situations" from his 1977 book Marxism and Literature.1 Here Williams succinctly laid out the theoretical framework for many of the authors of this anthology. It is worth considering some of the key threads of Bérube's book through the prism of this chapter.Williams begins by making aesthetics problematic... (shrink)

This book argues that philosophical pessimism can offer vital impulses for contemporary cultural studies. Pessimist thought offers ways to interrogate notions of temporality, progress and futurity. When the horizon of future expectation is increasingly shaped by the prospect of apocalypse and extinction, an exploration of pessimist thought can help to make sense of an increasingly complex and uncertain world by affirming rather than suppressing the worst. This book argues that a cultural logic of the worst is at work in a (...) substantial section of contemporary philosophical thought and cultural representations. Spectres of pessimism can be found in contemporary ecocritical thought, antinatalist philosophies, political thought, and cultural theory, as well as in literature, film, and popular music. In its unsettling of temporality, this new pessimism shares sensibilities with the field of hauntology. Both deconstruct linear narratives of time that adhere to a stable sequence of past, present and future. Mark Schmitt therefore couples pessimism and hauntology to explore the spectres of pessimism in a range of theories and narratives—from ecocriticism, antinatalism and queer theory to utopianism, from afropessimism to the fiction of Hari Kunzru and Thomas Ligotti to the films of Camille Griffin, Gaspar Noé, Denis Villeneuve and Lars von Trier. (shrink)

These four volumes are part of the forty-one volume set _New Accents_. First launched in 1977, the New Accents series rapidly changed the face of literary studies. Its clear and concise volumes brought the latest in literary theory to students and academics and paved the way for undergraduate teaching on essential new topics and approaches.

Referring to a past that never was, dij vu shares a structure not only with fiction, but also with the ever more sophisticated effects of media technology. Tracing the term from the end of the nineteenth century, when it was first popularized in the pages of the Revue philosophique, Peter Krapp examines the genealogy and history of the singular and unrepeatable experience of dij vu. This provocative book offers a refreshing counterpoint to the clichid celebrations of cultural memory and forces (...) us do a double take on the sanctimonious warnings against forgetting so common in our time. Disturbances of cultural memory-screen memories, false recognitions, premonitions-disrupt the comfort zone of memorial culture: strictly speaking, dij vu is neither a failure of memory nor a form of forgetting. Krapp's analysis of such disturbances in literature, art, and mass media introduces, historicizes, and theorizes what it means to speak of an economy of attention or distraction. Reaching from the early psychoanalytic texts of Sigmund Freud to the plays of Heiner M]ller, this exploration of the effects of dij vu pivots around the work of Walter Benjamin and includes readings of kitsch and aura in Andy Warhol's work, of cinematic violence and certain exaggerated claims about shooting and cutting, of the memorial character of architecture, and of the high expectations raised by the Internet. Peter Krapp, lecturer in the Department of Cultural Studies and Comparative Literature at the University of Minnesota, coedited "Medium Cool," a special issue of the South Atlantic Quarterly on contemporary media theory. He has published in the fields of German studies, media studies, and literary theoryand, since 1995, has acted as editor of the Hydra Web site for theories of literature and media. (shrink)

Readers expecting a history of nineteenth‐century pathology are in for a surprise. They will find instead a self‐conscious example of cultural studies, critical of some assumptions made in this field and of some feminist writing, but containing some alarming sentences like “My goal has been to give shape to the accidental palimpsests of an inveterately verbal, and increasingly visual, culture; to assemble a particular series of hermeneutic loose ends into a coherent account of how an extraordinarily bizarre system of (...) signification came into being” . With learned English like that, who needs Latin? But once we get into the main part of the book, things get much better. We are confronted with a study of the fringes of science, in popular writings, in literature, and in raree‐shows, one working from sources that the more austere scientifics of the Victorian period despised and that historians of science are prone to ignore. Metaphor and analogy are everywhere, and sensitive stomachs will be churned by vivid accounts of disease, deformity, and surgery.The first chapter is concerned with the cholera morbus, the plague of the nineteenth century, and with the way it could be perceived as an indicator of social ills. John Ruskin's word “illth” as an opposite of health is revived, and the terrible blackness of the shriveled and dehydrated victims of this disease imported from the East is linked with colonial and racist notions. The theme that a healthy body is like a well‐run state leads into the next chapter, on breast cancer. Surgery was not only agonizing but ineffective in the first half of the nineteenth century, but then the survival rate after three years rose gradually from 4.7 percent to 45 percent by 1900. O'Connor asks whether this saga, with cancer seen as cellular overproduction, reveals close connections with gender construction and the symbolic importance of breasts, concluding that it does not and that the language used really was neutral rather than sexual.She then looks at amputations and artificial limbs, seeing amputation as a threat to the whole masculine body that could be countered by prostheses almost undetectable to the observer. This allows reflection on illustration, where curiously disembodied hands are shown carrying out amputations; on dissembling and artificiality; on materialism; and on metaphors of wholeness and replacement and of extending senses and capacities. We see some extraordinary advertisements where men with artificial legs climb ladders and skate, perhaps on thin ice. The final chapter examines deformity, with monsters and freaks . P. T. Barnum is prominent here, but interesting links are also made to the Great Exhibition at the Crystal Palace and its successors and the numerous museums that were such a feature of the Victorian period. They are strikingly placed in a continuum, rather than opposed, in a discussion of chaos and order, capitalism and health, deformity and degeneration. Wonder is presented as the key to modern sensibility, and there is a nice quotation on page 152: “If Beauty and the Beast should be brought into competition in London at the present day, Beauty would stand no chance against the Beast in the race for popularity.” Readers will have been led into a fascinating world at the periphery of the respectable science that most of us study and will rejoice in the extraordinary sights they see. (shrink)

In the decades since his death, Adorno's thinking has lost none of its capacity to unsettle the settled, and has proved hugely influential in social and cultural thought. To most people, the entertainment provided by television, radio, film, newspapers, astrology charts and CD players seem harmless enough. For Adorno, however, the culture industry that produces them is ultimately toxic in its effect on the social process. Here, Robert Witkin unpacks Adorno's notoriously difficult critique of popular culture in (...) an engaging and accessible style, looking first at the development of the overarching theories of authority, commodification and negative dialectics within which Adorno's work needs to be seen. This book is an essential guide for understanding one of the key thinkers of our time. (shrink)

This article repudiates the dichotomy that African ethics is communitarian (relational) and Western ethics is individualistic. ‘Communitarianism’ is the view that morality is ultimately grounded on some relational properties like love or friendship; and, ‘individualism’ is the view that morality is ultimately a function of some individual property like a soul or welfare. Generally, this article departs from the intuition that all morality including African ethics, philosophically interpreted, is best understood in terms of individualism. But, in this article, I limit (...) myself to the literature in the African moral tradition; and, I argue that it is best construed in terms of individualism contrary to the popular stance of communitarianism. I defend my view by invoking two sorts of evidences. (1) I invoke prima facie evidence, which shows that both secular and religious moral thinkers in the tradition tend to understand it in individualistic terms. And, (2) I invoke concrete evidence, I show that the two terms that can be said to be definitive features of African ethical framework, namely: personhood and dignity, are individualistic. I conclude by considering possible objections against my defense of individualism as a central feature of African ethics. (shrink)

Central to politicized academic projects such as cultural studies and politicized work in cultural theory and philosophy is a critique of the cultural power of institutions—pedagogical institutions...

The essay broadens the understanding of Ortega's thought by elaborating his historiosophy, which is crucial to fully comprehend his popular work, 'The Revolt of the Masses'. The author argues that Ortega's famous sociological framework (based on the interplay between the elites and the masses) is very often trivialized due to the lack of knowledge about his anthropological assumptions, upon which the model of the evolution of culture is constructed. Utilizing the already existing literature (inter alia a synthetic (...) work by K. Polit), the essay reconstructs three philosophical crises in European thought that can be ultimately depicted as a suggestive sinusoid of social attitudes operating throughout the history of Western Civilization between the two boundary lines of the primary 'belief'. The belief is in fact a trust in the first data people have to adopt before they start to think philosophically: the priority of the object or the subject (historically: fides or ratio). The sinusoid shows the cyclical change of the first data people tended to accept and reveals a certain cultural mechanism: every culture is first developed by the inspired generation of individuals who structure reality in some way and then fight for the dissemination of their framework. After they prevail and the culture is accepted on a mass level, a process of degradation starts - this is because the culture gradually looses its link with the vivid circumstances that once constituted the stimulus for the founding generation. As a result, the culture becomes gradually more formal and distant from 'real life' - the elites do not innovate anymore, perceiving their world view as well-established and the masses are able only to renovate what is inherited. In the long run this leads to 'vital disorientation', which must force the next great generation of individuals to structure reality anew. 'The Revolt...' perceived in this way receives another layer of understanding. The popular interpretation of the book is that mass men, knowing their inherent rights (thanks to democracy) and having leisure time (technological advance) enter the public stage and want to be ruled by somebody of their sort. The author highlights that, apart from these two, a third factor is present: the long-term socialization of the culture of 'pure rationalism'. The mass man already feels that it does not correspond fully to his daily experience and becomes disoriented as a result. In consequence, the time of mass movements has come (that will be organized in accordance with the radicalized principle of either rationalism or irrationalism), until the elites harness the revolted masses again. The final part of the essay suggests the possible Eastern European dimension of Ortega's predictions about postmodern Europe and indicates that his intuitions were sufficiently accurate to foresee the emergence of some main currents in the contemporary humanities and sciences. (shrink)

The effects of humankind during the Capitalocene period caused planetary changes that resulted in the devastation and destruction of the Earth. The nuclear tragedy at the Chornobyl NPP on April 26, 1986, should serve as a constant reminder to society as it provided an example of dysfunctional totalitarian management. The topic of Chornobyl has become socially tiresome in recent years due to the trivialization of this large-scale anthropogenic, ecological, economic, and humanitarian disaster. The image of Ukraine as a hazard area (...) has gradually been replaced in world consciousness. When Russia, the aggressor country, started to intimidate the world with nuclear and thermonuclear weapons and to take the nuclear power plants in Ukraine under fire, the danger of radioactive materials came up once again. Phosphorous ammunition used in Ukraine in 2022 demonstrates that the terrorist state is capable of anything. Scientists also relate to earthquake motions that occurred in Turkey in February 2023 and Japan in January 2024, with the displacement of continental plates of the Earth’s crust resulting from missile attacks at the surface of the Earth. In the 21st century, there was a need to reconsider and refresh memories as well as to reread the works under a new perspective to draw attention to crimes against the safety of humanity and the environment, as well as to popularize, preserve and pass historical knowledge to future generations to protect them from traumatic experiences and self-destruction. The article aims to look at the postcolonial environment in contemporary literature of fact through the spectacle of ecocritical discourse via reading the works on the Chornobyl disaster. The objects of the study are Galia Ackerman’s work “Crossing Chornobyl”, the documentary and publicist chapter “Chornobyl Scenario” from the novel “Non-format Journalism” by Hryhorii Krymchuk, Volodymyr Shovkoshytnyi’s semidocumentary short story “Chornobyl: I Saw It”, the chapter “Elon Musk, “Tesla”, and Nuclear Power Engineering” from Maks Kidruk’s popular scientific book “Theory of Improbability”, Oleksii Radynskyi’s literary report “Chornobyl Is Ukraine”, and Markiian Kamysh’s travelogue “Stalking the Atomic City”. Study methods include principles of science, objectivity, and source verification. General scientific and special scientific research methods used in the study are a descriptive method for synthesizing and systematizing selected material; comparative and typological methods involving the elements of cultural, comparative, and narrative studies to compare the ways various authors have covered the Chornobyl topic; an ecocritical method that has made it possible to apply naturecentric approach to conceptualizing interaction between a human and nature to develop eco-conscious society; a postcolonial method aimed at conceptualizing the consequences of colonial rule via non-fiction text. (shrink)

Há um diálogo entre os estudos antropológicos e literários não só porque a literatura está dentro do âmbito da antropologia cultural, mas também porque a literatura de um povo reflete substancialmente os aspectos da sua cultura e sua visão de mundo. Este trabalho investiga as representações de classe, raça e relações raciais em “O Romance d'A Pedra e o Príncipe do Sangue do Vai-e-Volta”, um romance do autor brasileiro contemporâneo, Ariano Suassuna (1927). Em primeiro lugar, pretende-se demonstrar como a representação (...) de Suassuna da cultura popular reflete classe, raça e relações raciais sociais em uma área particular do Brasil, o Nordeste, tradicionalmente rural. Posteriormente, investigar como a comunicação de massa, especialmente os veículos culturais de televisão e cinema, utiliza a literatura para tentar mudar ou espalhar e perpetuar atitudes racistas e formas de pensamento. Mesmo que estudos modernos tenham mostrado que o conceito de "raça" é uma construção cultural e uma falácia, a literatura e a cultura de massa exploram identidades deliberadas com base em estereótipos recebidos. Os debates linguísticos e culturais de uma cultura e país racialmente híbrido, como o Brasil, não podem deixar de considerar os conceitos de "raça" e "grupos étnicos", pois o Brasil é um país que herdou as tipologias de classe, cor e preconceito patriarcal e agrário baseadas em colonialismo português (Ribeiro, 1995). Esses debates se refletem na cultura popular de maneiras particulares; são capturados em formas eruditas de cultura, como literatura, e são então apropriados pela mídia e televisão. As obras de Suassuna podem ser vistas como um recurso valioso deste debate, apontando para questões de assimilação ou segregação de raça e / ou poder de classe, e influência, boa ou ruim, tolerância e preconceito. Observa-se o impacto de seu trabalho não só através da literatura, mas também através dos meios de comunicação. (shrink)

In this engaging book, Douglas Anderson begins with the assumption that philosophy—the Greek love of wisdom—is alive and well in American culture. At the same time, professional philosophy remains relatively invisible. Anderson traverses American life to find places in the wider culture where professional philosophy in the distinctively American tradition can strike up a conversation. How might American philosophers talk to us about our religious experience, or political engagement, or literature—or even, popular music? Anderson’s second aim (...) is to find places where philosophy happens in nonprofessional guises—cultural places such as country music, rock’n roll, and Beat literature. He not only enlarges the tradition of American philosophers such as John Dewey and William James by examining lesser-known figures such as Henry Bugbee and Thomas Davidson, but finds the theme and ideas of American philosophy in some unexpected places, such as the music of Hank Williams, Tammy Wynette, and Bruce Springsteen, and the writingsof Jack Kerouac.The idea of “philosophy Americana” trades on the emergent genre of “music Americana,” rooted in traditional themes and styles yet engaging our present experiences. The music is “popular” but not thoroughly driven by economic considerations, and Anderson seeks out an analogous role for philosophical practice, where philosophy and popular culture are co-adventurers in the life of ideas. Philosophy Americana takes seriously Emerson’s quest for the extraordinary in the ordinary and James’s belief that popular philosophy can still be philosophy. (shrink)

The period from the eighth to the fifth centuries B.C. was one of extraordinary creativity in the Greek-speaking world. Poetry was a public and popular medium, and its production was closely related to developments in contemporary society. At the time when the city states were acquiring their distinctive institutions epic found the greatest of all its exponents in Homer, and lyric poetry for both solo and choral performance became a genre which attracted poets of the first rank, writers of (...) the quality of Sappho, Alcaeus and Pindar, whose influence on later literature was to be profound. This volume covers the epic tradition, the didactic poems of Hesiod and his imitators, and the wide-ranging work of the iambic, elegiac and lyric poets of what is loosely called the archaic age. The contributors make use of recent papyrus finds to fill out the picture of a cosmopolitan and highly sophisticated literary culture which had not yet found its intellectual centre in Athens. (shrink)

The studies of urban popular culture in modern China in recent years have attracted wide attention from scholars in China and abroad. The symposium, which is composed by Ma Min’s “Injecting vitality into the studies of urban cultural history,” Jiang Jin’s “Issues in the studies of urban popular culture in modern China,” Wang Di’s “The microcosm of Chinese cities: The perspective and methodology of studying urban popular culture from the case of teahouses in Chengdu,” (...) Joseph W. Esherick’s “Remaking the Chinese city: Urban space and urban culture” and Lu Hanchao’s “From elites to common people: The downward trend in the studies of Chinese urban history in the United States,” provide valuable insights on the perspective, trend, and methodology of the studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Vanities of the Eye: Vision in Early Modern European CultureDallas G. Denery IIStuart Clark. Vanities of the Eye: Vision in Early Modern European Culture. Oxford-New York: Oxford University Press, 2007. Pp. xi + 415. Cloth, $75.00.A popular and pervasive historical narrative links the Renaissance development of linear perspective with Europe’s transition from a pre-modern to an early modern society. Erwin Panofsky gave this narrative its definitive (...) form early in the twentieth century and William Ivins boiled it down to a simple idea that served as the title of his most famous book. According to Ivins, single-point perspective, the artistic technique championed by Alberti and perfected in the paintings of Masaccio and Piero della Francesca, allowed for “the rationalization of sight.” In other words, it provided a mathematically and geometrically grounded method for accurately representing the external world. It is a powerful and seductive claim, one that has shaped generations of scholarly work. It is also, Stuart Clark contends in this important new book, patently wrong. Far from exhibiting a renewed or reinvigorated confidence in the accuracy and reliability of vision, sixteenth- and seventeenth-century philosophers, artists, theologians, and doctors worried that sight was susceptible, perhaps permanently so, to all sorts of debilitating derangements, displacements, and delusions.Rather than relate a history of progress, Clark offers a history of exhaustion, failure, and, ultimately, of rejection. Early modern intellectuals inherited a comprehensive theory of vision and cognition from their medieval predecessors known as perspectivist optics. This theory sought to secure the accuracy of human sense perception through regularized causal processes that linked things in the world with our various cognitive faculties. While some fourteenth-century intellectuals, most notably Nicolas of Autrecourt and Nicole Oresme, recognized structural deficiencies in this theory, their critiques were mostly ignored or treated as anomalies. Over the course of the next two and a half centuries, Clark argues, the challenges to this theory multiplied until it collapsed under their weight (20).Clark’s argument is straightforward and, as his evidence mounts, thoroughly convincing. Throughout each of the eight engrossing chapters that form the core of the book, Clark outlines a different threat, a different set of challenges that pointed out problems with the assumption that vision is trustworthy. The range and depth of those challenges are truly amazing. Doctors worried that imbalances in our humoral system, and especially in the black bile that causes melancholy, could render our visual perceptions dubious at best (ch. 2). Theologians, wary of the dangers of witchcraft and eager to prosecute its practitioners, obsessed over the cognitive threats that devils and demons posed to good Christians (ch. 4), while Protestant reformers relegated the entire tradition of Catholic miracles to the counterfeit illusions of the antichrist (ch. 5). For their part, artists believed that perspective undermined vision, depending as it does on the assumption that what we see is always relative, dependent upon our point of view (ch. 3).Clark structures much of his argument around George Hakewill’s 1608 book, The vanitie of the eye, an exposition on the natural, artificial, and demonic sources that forever render visual knowledge suspect. He could just as well have organized it around the opening pages of Descartes’s Meditations, and in many ways Clark’s book serves as a superb rumination on the sources of Descartes’s skeptical arguments. Unlike Etienne Gilson and, more recently, Richard Popkin, both of whom have done so much to open up the scholastic and early modern sources of Descartes’s skeptical thought experiments, Clark does not limit himself to philosophical lineages. Rather, he considers sources of visual skepticism that developed across an entire culture—in natural philosophy, medicine, art, religion, and literature (especially in Shakespeare’s Macbeth). Not only does the sheer volume and variety of such [End Page 103] sources help to explain Descartes’s urgent desire to overturn everything he had learned and begin again from the foundations, but it also contextualizes the specific arguments he employs. None of Descartes’s skeptical arguments were new and most were well known in the Middle Ages. What had changed over the intervening centuries, Clark contends, was how these arguments drew from... (shrink)

This edited volume offers a comprehensive analysis of humanistic leadership, bringing together authors with experience working in different cultures to demonstrate that humanistic leadership exists everywhere and has enabled companies to sustain all over the world. There is a high volume of evidence that executive education has significant influence in the decisions of executives and upper managers in business, government and other institutions. However, in spite of the many different leadership theories in existence, there is a severe deficit of research (...) and literature addressing the specific needs of organizations for integrating the human dimension. This book highlights different cultural case studies from around the world to demonstrate that humanistic leadership is the model that best enables employees to thrive and businesses to sustain. Part of the popular Humanism in Business series, this book will be of great interest to academics, students and practitioners of leadership and human resources. “People are realizing that leadership today requires more than just managing an organization well for the purpose of maximizing profit. In this important book, several authors explore the defining characteristics and behavior of what are becoming known as ‘humanistic leaders’. Humanistic Leadership in Different Cultures is a powerful and inspiring accompaniment to bodies of work about servant leadership and quantum leadership, and adds the dimension about how these are practiced in different cultures. I recommend it highly.” Danah Zohar, Author of The Quantum Leader and Zero Distance. (shrink)

The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualize their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories, such as Darwin's theory of evolution and sexual selection, deliberately drawing (...) on concepts in ways that allowed them to refute popular claims or disrupt conventional knowledges. Focusing on the close kinship between the arts and sciences during the Victorian period, the art historians contributing to this volume reveal the unique ways in which nineteenth-century British and American visual culture participated in making science - and in which science informed art at a crucial moment in the history of the development of the modern world. Together, they explore topics in geology, meteorology, medicine, anatomy, evolution, and zoology, as well as a range of media, from photography to oil painting. This volume reminds us that science and art are not tightly compartmentalized, separate influences, but rather fields that shared forms - manifest as waves, layers, lines, or geometries - and invest in the idea of the evolution of form. (shrink)

The authors consider in detail the features of the socio-cultural design of ethnocultural activities based on the actualization of traditional values and heritage in the Aginsky Buryat district. Since the end of the twentieth century, there has been an intensification of activities for the development of ethnic culture in the district, and often the initiative comes from the people, and it is implemented in the form of socio-cultural projects of cultural institutions, education, non-profit organizations. In connection with these features, (...) it becomes relevant to analyze the value core of the Buryat culture, which becomes the object of socio-cultural design at the present stage. To study this issue, methods of external and included observation, content analysis of ongoing socio-cultural projects were used; scientific literature on the topic of socio-cultural design and values of Buryat culture was analyzed. The research material was social practices and projects implemented in the Aginsky Buryat district. The novelty of the research lies in the fact that the socio-cultural processes emerging in the social environment, initiated by tribal communities and social groups of peers, are studied. In the Agin Buryat district, these social groups are the subjects initiating innovative social practices aimed at actualizing and reviving the cultural core of the people. On the basis of these practices that have arisen in the popular environment, social projects of government bodies and institutions of the social sphere, culture, and education are being created and implemented. As a result of the conducted research, it was revealed that socio-cultural design at the present stage actualizes the values of the native language, the continuity of the family and tribal community, love for the native land, strengthening friendly ties with fellow countrymen and peers during the implementation of socially significant practices. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Vanities of the Eye: Vision in Early Modern European CultureDallas G. Denery IIStuart Clark. Vanities of the Eye: Vision in Early Modern European Culture. Oxford-New York: Oxford University Press, 2007. Pp. xi + 415. Cloth, $75.00.A popular and pervasive historical narrative links the Renaissance development of linear perspective with Europe’s transition from a pre-modern to an early modern society. Erwin Panofsky gave this narrative its definitive (...) form early in the twentieth century and William Ivins boiled it down to a simple idea that served as the title of his most famous book. According to Ivins, single-point perspective, the artistic technique championed by Alberti and perfected in the paintings of Masaccio and Piero della Francesca, allowed for “the rationalization of sight.” In other words, it provided a mathematically and geometrically grounded method for accurately representing the external world. It is a powerful and seductive claim, one that has shaped generations of scholarly work. It is also, Stuart Clark contends in this important new book, patently wrong. Far from exhibiting a renewed or reinvigorated confidence in the accuracy and reliability of vision, sixteenth- and seventeenth-century philosophers, artists, theologians, and doctors worried that sight was susceptible, perhaps permanently so, to all sorts of debilitating derangements, displacements, and delusions.Rather than relate a history of progress, Clark offers a history of exhaustion, failure, and, ultimately, of rejection. Early modern intellectuals inherited a comprehensive theory of vision and cognition from their medieval predecessors known as perspectivist optics. This theory sought to secure the accuracy of human sense perception through regularized causal processes that linked things in the world with our various cognitive faculties. While some fourteenth-century intellectuals, most notably Nicolas of Autrecourt and Nicole Oresme, recognized structural deficiencies in this theory, their critiques were mostly ignored or treated as anomalies. Over the course of the next two and a half centuries, Clark argues, the challenges to this theory multiplied until it collapsed under their weight (20).Clark’s argument is straightforward and, as his evidence mounts, thoroughly convincing. Throughout each of the eight engrossing chapters that form the core of the book, Clark outlines a different threat, a different set of challenges that pointed out problems with the assumption that vision is trustworthy. The range and depth of those challenges are truly amazing. Doctors worried that imbalances in our humoral system, and especially in the black bile that causes melancholy, could render our visual perceptions dubious at best (ch. 2). Theologians, wary of the dangers of witchcraft and eager to prosecute its practitioners, obsessed over the cognitive threats that devils and demons posed to good Christians (ch. 4), while Protestant reformers relegated the entire tradition of Catholic miracles to the counterfeit illusions of the antichrist (ch. 5). For their part, artists believed that perspective undermined vision, depending as it does on the assumption that what we see is always relative, dependent upon our point of view (ch. 3).Clark structures much of his argument around George Hakewill’s 1608 book, The vanitie of the eye, an exposition on the natural, artificial, and demonic sources that forever render visual knowledge suspect. He could just as well have organized it around the opening pages of Descartes’s Meditations, and in many ways Clark’s book serves as a superb rumination on the sources of Descartes’s skeptical arguments. Unlike Etienne Gilson and, more recently, Richard Popkin, both of whom have done so much to open up the scholastic and early modern sources of Descartes’s skeptical thought experiments, Clark does not limit himself to philosophical lineages. Rather, he considers sources of visual skepticism that developed across an entire culture—in natural philosophy, medicine, art, religion, and literature (especially in Shakespeare’s Macbeth). Not only does the sheer volume and variety of such [End Page 103] sources help to explain Descartes’s urgent desire to overturn everything he had learned and begin again from the foundations, but it also contextualizes the specific arguments he employs. None of Descartes’s skeptical arguments were new and most were well known in the Middle Ages. What had changed over the intervening centuries, Clark contends, was how these arguments drew from... (shrink)

The most common definitions of popular culture suffer from a presentist bias and cannot be applied to pre-industrial and pre-capitalist societies. A survey reveals serious conceptual difficulties as well. We may, however, gain insight in two ways. 1) By moving from a Marxist model to a more Weberian approach . 2) By looking to Bourdieu’s “cultural capital” and Danto’s and Dickie’s “Institutional Theory of Art,” and defining popular culture as “unauthorized culture.”.

In this research, the key elements of lectio divina, which is a Western spiritual practice, were tried to be mentioned. Many new practices emerged in the transition from desert monasticism, where early Christian monasticism emerged, to the settled monastic order, which attached little importance to reading other than the Bible. The habit of reading has also become one of the indispensable elements of the monastery after the transition to the settled monasteries. The entry of this term into monastic literature (...) dates back to St. Benedict (480-547), who included it in the daily monastic calendar as a kind of monastic discipline. The lectio practice applied in monasteries brought along some questions such as what the content of this reading activity is, how long it lasts and how it should be practiced. In this regard, the contributions of Cassiodorus (490-583), who was also a contemporary of St. Benedict, to the monastic literature and the ideal of the monastic school, are important. In addition, in this study, information is given about the monastery copying activities, which have an important place to be directly related to the lectio and ensuring the preservation of knowledge and transferring it to the next generations. From this point of view, it has been tried to examine the comments made by the monastic leaders from the early period to the 12th century on the pagan literature, which is not included in the Bible and religious works read in the monastic libraries. Lectio divina gained popularity among monasteries affiliated with the Roman Catholic Church, and by the 12th century it had developed into the four-stage reading process known today by Guigo II. The details of this four-stage process were tried to be given in the last section and the study was concluded after the evaluations made in the conclusion section. (shrink)

Social theory can sometimes seem as though it's speaking of a world that existed long ago, so why should we continue to study and discuss the theories of these dead white men? Can their work still inform us about the way we live today? Are they still relevant to our consumer-focused, celebrity-crazy, tattoo-friendly world? This book explains how the ideas of classical sociological theory can be understood, and applied to, everyday activities like listening to hip-hop, reading fashion magazines or watching (...) reality TV. Taking the reader through central sociological texts, Social Theory In Popular Culture explains why key theorists – from Marx to Saussure – are still considered to be the bedrock of sociology and sociological enquiry. Each chapter examines a different key thinker and applies their work to a recognisable aspect of popular cultural, showing how the central issues underpinning classic social thought - class, conflict, gender, power, ethnicity, and social status - can still be readily observed within the modern global world. Encouraging the reader to critique and reflect upon the ways in which classic social theory applies to their own worlds, this is the perfect antidote to dry social theory explanations. It is an eye-opening read for all students and scholars across the social sciences. (shrink)

If we admit that Latin-American literature is a part of what is called Western culture, why, I ask myself, has it not been able to influence any of the great literatures of the West, outside of the Spanish? To be more precise, when I speak of influencing, I am not referring to the historico-cultural event that signifies Latin America, which has changed the West, but specifically to literature, that is, writing, the book, the language, the contents, the (...) creative structure and the symbols. From its origins until today, Latin-American literature, like Jugoslavian literature—in spite of the Nobel prize awarded to Ivo Andric—or Bulgarian or Icelandic, remains a marginal phenomenon. It is produced within a closed circuit, having no real resonance except in Spain. Furthermore, it struggles between two guilt feelings: one, that of being late with regard to renovating currents of fashions of the day and the other, that of not responding to its own reality. Because of those burdens of a guilty conscience, it often feigns innovation by following outside models or exalting a nationalist realism that has not produced the slightest new form but only a mediocre art of propaganda. It simulates and copies, or it lags behind. It either tries to be up to date or pretends to overcome this uneasiness by inventing an intransigent Americanism, behaving like a telluric barbarian or accepting traditional popular forms that may produce works such as Martin Fierro, whose value for the Latin-Americans cannot be denied but whose range is limited. (shrink)

Not all original works invoke the encore impulse in their audiences. Those that do generally spawn replications - sequels, spin-offs, or re-makes. This book presents a theory of why some replications succeed and others fail across genres and media.

Addressing the contradictions surrounding modern-day femininity and its complicated relationship with feminism and postfeminism, this book examines a range of popular female/feminist icons and paradigms. It offers an innovative and forward-looking perspective on femininity and the modern female self.