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Text by Leah Ollman.
This series of provocative views presents the ways we use and inhabit places and the ways our lives are shaped by those places. Strangely Familiar is a book about the unexpected, about the vitality and the complexity of the everyday.
In the past decade, designers have become increasingly engaged with the quotidian.
Emotional empathy becomes an empowering tool for investigating the disappearance of a rebellious teenage girl. In this intriguing thriller, Detective James Julius trusts reason and facts but, when he starts seeing images that others don't see, he fears he's losing his mind. With help from friends, a hacker, a gypsy and a rogue, his newfound empathy exposes the dark secrets behind her disappearance, and reveals that people become Strangely Familiar when they experience similar pain.
This book examines the meaning and implications of the sociological maxim, ‘make the familiar strange’. Addressing the methodological questions of why and how sociologists should make the familiar strange, what it means to ‘make the familiar strange’, and how this approach benefits sociological research and theory, it draws on four central concepts: reification, familiarity, strangeness, and defamiliarization. Through a typology of the notoriously ambiguous concept of reification, the author argues that the primary barrier to sociological knowledge is our experience of the social world as fixed and unchangeable. Thus emerges the importance of constituting the familiar as the strange through a process of social defamiliarization as well as making this process more methodical by reflecting on heuristics and patterns of thinking that render society strange. The first concerted effort to examine an important feature of the sociological imagination, this volume will appeal to sociologists of any specialty and theoretical persuasion.
This thrilling sequel to So Close to You explores how far we'll go to save the people we love—and what happens after you change the future. These are the things of which Lydia is now certain: The Montauk Project has been experimenting with time travel for years. The Project's subjects are "recruits" from across time. Recruits like Wes: Lydia's ally, friend, and love. The Project is now responsible for the disappearance of two members of her family. . . . And they're coming for Lydia next.
Twenty-three photographers from countries around the world offer their own perspectives on British society. British photographer Martin Parr has selected works, dating from the 1930s to today, that capture the social, cultural, and political identity of the UK through the camera lens. These images range from social documentary and street photography to portraiture and architectural photography and offer a reflection of how Britain is perceived by those outside its borders.
Literary critics have traditionally suggested that the invention of photography led to the rise of the realist novel, which is believed to imitate the detail and accuracy of the photographic image. Instead, says Stuart Burrows, photography's influence on American fiction had less to do with any formal similarity between the two media than with the capacity of photography to render American identity and history homogeneous and reproducible. The camera, according to Burrows, provoked a representational crisis, one broadly modernist in character. Since the photograph is not only a copy of its subject but a physical product of it, the camera can be seen as actually challenging mimetic or realistic theories of representation, which depend on a recognizable gap between original and reproduction. Burrows argues for the centrality of photography to a set of writers commonly thought of as hostile to the camera-including Nathaniel Hawthorne, Henry James, William Faulkner, and Zora Neale Hurston. The photographic metaphors and allusions to the medium that appear throughout these writers' work demonstrate the ways in which one representational form actually influences another--by changing how artists conceive of identity, history, and art itself. A Familiar Strangeness thus challenges the notion of an absolute break between nineteenth-century realism and twentieth-century modernism, a break that typically centers precisely on the two movements' supposedly differing relation to the camera. Just as modernist fiction interrupts and questions the link between visuality and knowledge, so American realist fiction can be understood as making the world less knowable precisely by making it more visible.
In The Familiar Made Strange, twelve distinguished historians offer original and playful readings of American icons and artifacts that cut across rather than stop at the nation’s borders to model new interpretive approaches to studying United States history. These leading practitioners of the "transnational turn" pause to consider such famous icons as John Singleton Copley’s painting Watson and the Shark, Alfred Eisenstaedt’s photograph V-J Day, 1945, Times Square, and Alfred Kinsey’s reports on sexual behavior, as well as more surprising but revealing artifacts like Josephine Baker’s banana skirt and William Howard Taft’s underpants. Together, they present a road map to the varying scales, angles and methods of transnational analysis that shed light on American politics, empire, gender, and the operation of power in everyday life.