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Douglas Holmes develops the concept of peasant-worker society to analyze a kind of social formation that has until now gone largely unrecognized and unstudied. His book portrays the dissonant crosscurrents created at the interface of urban industrial and rural peasant spheres. Examining the region of Friuli in northeast Italy, it shows how wage labor was adopted by country folk who maintained ties to small-scale cultivation and indigenous traditions. Holmes draws on the Weberian notion of the "disenchantment of the world" to examine the cultural issues that animate peasant-worker life. What emerges is a vivid picture of the economic, political, religious, and ethnic struggles that infuse the peasant-worker milieu, as traditional representations of reality are pitted against bureaucratic definitions and formulas emanating from Church, state, and market institutions. In addition to providing a general theoretical framework for the analysis of peasant-worker society and culture, Cultural Disenchantments is the first anthropological study of Friuli to be published in English. As such, it elaborates on the historical insights developed by Carlo Ginzburg in his famous study of sixteenthcentury agrarian cults and folk traditions in Friuli.
A great many theorists have argued that the defining feature of modernity is that people no longer believe in spirits, myths, or magic. Jason Ā. Josephson-Storm argues that as broad cultural history goes, this narrative is wrong, as attempts to suppress magic have failed more often than they have succeeded. Even the human sciences have been more enchanted than is commonly supposed. But that raises the question: How did a magical, spiritualist, mesmerized Europe ever convince itself that it was disenchanted? Josephson-Storm traces the history of the myth of disenchantment in the births of philosophy, anthropology, sociology, folklore, psychoanalysis, and religious studies. Ironically, the myth of mythless modernity formed at the very time that Britain, France, and Germany were in the midst of occult and spiritualist revivals. Indeed, Josephson-Storm argues, these disciplines’ founding figures were not only aware of, but profoundly enmeshed in, the occult milieu; and it was specifically in response to this burgeoning culture of spirits and magic that they produced notions of a disenchanted world. By providing a novel history of the human sciences and their connection to esotericism, The Myth of Disenchantment dispatches with most widely held accounts of modernity and its break from the premodern past.
Renewing the Christian voice, conscience, and imagination so that we can become compelling witnesses of the Gospel in today's culture. Christianity has an image problem. While the culture we inhabit presents us with an increasingly anti-Christian and disenchanted position, the church in the West has not helped its case by becoming anti-intellectual, fragmented, and out of touch with the relevancy of Jesus to all aspects of contemporary life. The muting of the Christian voice, its imagination, and its collective conscience have diminished the prospect of having a genuine missionary encounter with others today. Cultural apologetics attempts to demonstrate not only the truth of the Gospel but also its desirability by reestablishing Christianity as the answer that satisfies our three universal human longings—truth, goodness, and beauty. In Cultural Apologetics, philosopher and professor Paul Gould sets forth a fresh and uplifting model for cultural engagement—rooted in the biblical account of Paul's speech in Athens—which details practical steps for establishing Christianity as both true and beautiful, reasonable and satisfying. You'll be introduced to: The idea of cultural apologetics as distinct from traditional apologetics. The path from disenchantment with how we understand reality to re-enchantment with the reality of the spiritual nature of things. The practical tools of good cultural engagement: conscience, reason, and imagination. Equip yourself to see, and help others see, the world as it is through the lens of the Spirit—deeply beautiful, mysterious, and sacred. With creative insights, Cultural Apologetics prepares readers to share a vision of the Christian faith that is both plausible and desirable, offering clarity for those who have become disoriented in the haze of modern Western culture.
Within the familiar clash of religious conservatism and secular liberalism Paul Maltby finds a deeper discord: an antipathy between Christian fundamentalism and the postmodern culture of disenchantment. Arguing that each camp represents the poles of America's virulent culture wars, he shows how the cultural identity, lifestyle, and political commitments of many Americans match either the fundamentalist profile of one who cleaves to metaphysical and authoritarian beliefs or the postmodern profile of one who is disposed to critical inquiry and radical-democratic values. Maltby offers a critique that operates in both directions. His use of the resources of postmodern theory to contest fundamentalism's doctrinal claims, ultra-right politics, anti-environmentalism, and conservative aesthetics informs his engagement with contemporary fundamentalist painting, spiritual warfare fiction, dominionist attitudes to nature, and a profoundly undemocratic interpretation of Christianity. At the same time, Maltby identifies some of fundamentalism's legitimate spiritual concerns, assesses the cost of perpetual critique, and exposes the deficit of spiritual meaning that haunts the culture of disenchantment.
Leads scholars and anyone who cares about the humanities into more effectively analyzing the fate of the humanities and digging into the very idea of the humanities as a way to find meaning and coherence in the world. The humanities, considered by many as irrelevant for modern careers and hopelessly devoid of funding, seem to be in a perpetual state of crisis, at the mercy of modernizing and technological forces that are driving universities towards academic pursuits that pull in grant money and direct students to lucrative careers. But as Paul Reitter and Chad Wellmon show, this crisis isn’t new—in fact, it’s as old as the humanities themselves. Today’s humanities scholars experience and react to basic pressures in ways that are strikingly similar to their nineteenth-century German counterparts. The humanities came into their own as scholars framed their work as a unique resource for resolving crises of meaning and value that threatened other cultural or social goods. The self-understanding of the modern humanities didn’t merely take shape in response to a perceived crisis; it also made crisis a core part of its project. Through this critical, historical perspective, Permanent Crisis can take scholars and anyone who cares about the humanities beyond the usual scolding, exhorting, and hand-wringing into clearer, more effective thinking about the fate of the humanities. Building on ideas from Max Weber and Friedrich Nietzsche to Helen Small and Danielle Allen, Reitter and Wellmon dig into the very idea of the humanities as a way to find meaning and coherence in the world. ,
A historical narrative of how Israeli expertise in Arab affairs has contributed to the creation of cultural separatism between Jews and Arabs, a separatism that exacerbates the conflict between the two peoples.
Challenges the conventional view of a “disenchanted” and secular modernity, and recovers the complex relation that exists between science, religion, and esotericism in the modern world. Max Weber famously characterized the ongoing process of intellectualization and rationalization that separates the natural world from the divine (by excluding magic and value from the realm of science, and reason and fact from the realm of religion) as the “disenchantment of the world.” Egil Asprem argues for a conceptual shift in how we view this key narrative of modernity. Instead of a sociohistorical process of disenchantment that produces increasingly rational minds, Asprem maintains that the continued presence of “magic” and “enchantment” in people’s everyday experience of the world created an intellectual problem for those few who were socialized to believe that nature should contain no such incalculable mysteries. Drawing on a wide range of early twentieth-century primary sources from theoretical physics, occultism, embryology, radioactivity, psychical research, and other fields, Asprem casts the intellectual life of high modernity as a synchronic struggle across conspicuously different fields that shared surprisingly similar intellectual problems about value, meaning, and the limits of knowledge. “The Problem of Disenchantment is, in its entirety, extraordinarily well researched, argued, and written—representing at once the most complete and nuanced treatment of the notion of disenchantment within this network of scientific, religious, philosophical, and esoteric discourses and currents.” — Nova Religio
In Contours of Culture the authors address practical and theoretical problems of using ethnographic methods in the study of culture, drawing on their field research with an opera company, Welsh artists, and classes on a popular Brazilian martial art.
This volume explores the process of heritage making and its relation to the production of touristic places, examining several case studies around the world. Most existing literature on heritage and tourism centers either on its managerial aspects, the tourist experience, or issues related to inequality and identity politics. This volume instead establishes theoretical links between analyses of heritage and the production and reproduction of places in the context of the global tourist trade. The approach adopted here is to explore the production of heritage as a complex process shaped by local and global discourses that can have a deep impact on several policies and legislations. Heritage itself has now become not only a global discourse, but also a global practice, which may eventually lead to the use of heritage as a field for hegemony. From these perspectives, heritage making may be incorporated in the world economy, mainly through the global tourism trade. The chapters in this book stress the need for identifying the intrinsic political implications of these processes, relocating their study in political, economic and social settings. Combined with a diversified set of theoretical approaches and research methods, guided by a common thematic rationale, The Making of Heritage is at the forefront of current debates about heritage.
The expression laissez les bons temps rouler—"let the good times roll"—conveys the sense of exuberance and good times associated with southern Louisiana’s vibrant cultural milieu. Yet, for Cajuns, descendants of French settlers exiled from New Brunswick and Nova Scotia in the mid-eighteenth century, this sense of celebration has always been mixed with sorrow. By focusing on Cajun music and dance and the ways they convey the dual experiences of joy and pain, Disenchanting Les Bons Temps illuminates the complexities of Cajun culture. Charles J. Stivale shows how vexed issues of cultural identity and authenticity are negotiated through the rich expressions of emotion, sensation, sound, and movement in Cajun music and dance. Stivale combines his personal knowledge and love of Cajun music and dance with the theoretical insights of Gilles Deleuze and Félix Guattari to consider representations of things Cajun. He examines the themes expressed within the lyrics of the Cajun musical repertoire and reflects on the ways Cajun cultural practices are portrayed in different genres including feature films, documentaries, and instructional dance videos. He analyzes the dynamic exchanges between musicians, dancers, and spectators at such venues as bars and music festivals. He also considers a number of thorny socio-political issues underlying Cajun culture, including racial tensions and linguistic isolation. At the same time, he describes various efforts by contemporary musicians and their fans to transcend the limitations of cultural stereotypes and social exclusion. Disenchanting Les Bons Temps will appeal to those interested in Cajun culture, issues of race and ethnicity, music and dance, and the intersection of French and Francophone studies with Anglo and American cultural studies.