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“This new edition of one of the masterworks of twentieth-century anthropology is more than welcome…enduringly significant insights.”—Marilyn Strathern, emerita, University of Cambridge In the field of anthropology, few books manage to maintain both historical value and contemporary relevance. Roy Wagner's The Invention of Culture, originally published in 1975, is one that does. Wagner breaks new ground by arguing that culture arises from the dialectic between the individual and the social world. Rooting his analysis in the relationships between invention and convention, innovation and control, and meaning and context, he builds a theory that insists on the importance of creativity, placing people-as-inventors at the heart of the process that creates culture. In an elegant twist, he also shows that this very process ultimately produces the discipline of anthropology itself. Tim Ingold’s foreword to the new edition captures the exhilaration of Wagner’s book while showing how the reader can journey through it and arrive safely—though transformed—on the other side.
Contemporary society has seen an unprecedented rise in both the demand and the desire to be creative, to bring something new into the world. Once the reserve of artistic subcultures, creativity has now become a universal model for culture and an imperative in many parts of society. In this new book, cultural sociologist Andreas Reckwitz investigates how the ideal of creativity has grown into a major social force, from the art of the avant-garde and postmodernism to the ‘creative industries’ and the innovation economy, the psychology of creativity and self-growth, the media representation of creative stars, and the urban design of ‘creative cities’. Where creativity is often assumed to be a force for good, Reckwitz looks critically at how this imperative has developed from the 1970s to the present day. Though we may well perceive creativity as the realization of some natural and innate potential within us, it has rather to be understood within the structures of a very specific culture of the new in late modern society. The Invention of Creativity is a bold and refreshing counter to conventional wisdom that shows how our age is defined by radical and restrictive processes of social aestheticization. It will be of great interest to those working in a variety of disciplines, from cultural and social theory to art history and aesthetics.
Both a critical history of anthropological theory and methods and a challenging essay in the sociology of science, The Invention of Primitive Society shows how anthropologists have tried to define the original form of human society.
An engaging new history of the Royal Society of London, the club that created modern scientific thought Founded in 1660 to advance knowledge through experimentally verified facts, The Royal Society of London is now one of the preeminent scientific institutions of the world. It published the world's first science journal, and has counted scientific luminaries from Isaac Newton to Stephen Hawking among its members. However, the road to truth was often bumpy. In its early years-while bickering, hounding its members for dues, and failing to create its own museum-members also performed sheep to human blood transfusions, and experimented with unicorn horns. In his characteristically accessible and lively style, Adrian Tinniswood charts the Society's evolution from poisoning puppies to the discovery of DNA, and reminds us of the increasing relevance of its motto for the modern world: Nullius in Verba-Take no one's word for it.
The rise of heterosexual culture and the resistance it met from feudal lords, church fathers, and the medical profession. Heterosexuality is celebrated—in film and television, in pop songs and opera, in literature and on greeting cards—and at the same time taken for granted. It is the cultural and sexual norm by default. And yet, as Louis-Georges Tin shows in The Invention of Heterosexual Culture, in premodern Europe heterosexuality was perceived as an alternative culture. The practice of heterosexuality may have been standard, but the symbolic primacy of the heterosexual couple was not. Tin maps the emergence of heterosexual culture in Western Europe and the significant resistance to it from feudal lords, church fathers, and the medical profession. Tin writes that before the phenomenon of "courtly love" in the early twelfth century, the man-woman pairing had not been deemed a subject worthy of more than passing interest. As heterosexuality became a recurrent theme in art and literature, the nobility came to view it as a disruption of the feudal chivalric ethos of virility and male bonding. If feudal lords objected to the "hetero" in heterosexuality and what they saw as the associated dangers of weakness and effeminacy, the church took issue with the “sexuality,” which threatened the Christian ethos of renunciation and divine love. Finally, the medical profession cast heterosexuality as pathology, warning of an epidemic of “lovesickness.” Noting that the discourse of heterosexuality does not belong to heterosexuals alone, Tin offers a groundbreaking history that reasserts the cultural identity of heterosexuality.
Throughout most of history, in China the insane were kept within the home and treated by healers who claimed no specialized knowledge of their condition. In the first decade of the twentieth century, however, psychiatric ideas and institutions began to influence longstanding beliefs about the proper treatment for the mentally ill. In The Invention of Madness, Emily Baum traces a genealogy of insanity from the turn of the century to the onset of war with Japan in 1937, revealing the complex and convoluted ways in which “madness” was transformed in the Chinese imagination into “mental illness.” ​ Focusing on typically marginalized historical actors, including municipal functionaries and the urban poor, The Invention of Madness shifts our attention from the elite desire for modern medical care to the ways in which psychiatric discourses were implemented and redeployed in the midst of everyday life. New meanings and practices of madness, Baum argues, were not just imposed on the Beijing public but continuously invented by a range of people in ways that reflected their own needs and interests. Exhaustively researched and theoretically informed, The Invention of Madness is an innovative contribution to medical history, urban studies, and the social history of twentieth-century China.
This book explores examples of this process of invention and addresses the complex interaction of past and present in a fascinating study of ritual and symbolism.
How did the fact become modernity's most favored unit of knowledge? How did description come to seem separable from theory in the precursors of economics and the social sciences? Mary Poovey explores these questions in A History of the Modern Fact, ranging across an astonishing array of texts and ideas from the publication of the first British manual on double-entry bookkeeping in 1588 to the institutionalization of statistics in the 1830s. She shows how the production of systematic knowledge from descriptions of observed particulars influenced government, how numerical representation became the privileged vehicle for generating useful facts, and how belief—whether figured as credit, credibility, or credulity—remained essential to the production of knowledge. Illuminating the epistemological conditions that have made modern social and economic knowledge possible, A History of the Modern Fact provides important contributions to the history of political thought, economics, science, and philosophy, as well as to literary and cultural criticism.