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Jiang Jiehong seeks to understand the Covid-19 pandemic through interviews with leading figures of the Chinese art world during the summer of 2020. In late 2019, as a deadly pandemic began to take hold, China's Wuhan province was the first to feel the effects. As the virus spread, the streets and squares of the world emptied, and the structures of our social world were redefined. In response to the pandemic, Jiang Jiehong convened in-conversation talks with twelve figures--such as Chen Danqing, Pi Li, Xiang Biao, and Zhang Peili, among others--from different disciplines in the Chinese-speaking world, including anthropology, architecture, art, curation, fashion, film, literature, media, museum, music, and photography. Presented here, the conversations foster new understandings of the ongoing crisis. The discussions explore the threat of the invisible; notions of distance and spatialization, separation and isolation, communication and mobility, discipline and surveillance, and community and collectiveness; and China's changing relationship with the rest of the world. These illuminating reflections on the global crisis allow us to re-examine past norms and begin to form visions of a post-Covid world.
This book explores the paradoxes of Self–Other relations in the field of tourism. It particularly focuses on the 'power' of different forms of 'Otherness' to seduce and to disrupt, and, eventually, also to renew the social and cosmological orders of 'modern' culture and everyday life. Drawing on a series of ethnographic case studies, the contributors investigate the production, socialisation and symbolic encompassment of different 'Others' as a political and also an economic resource to govern social life in the present. The volume provides a comparative inductive study on the modernist philosophical concepts of time, 'Otherness', and the self in practice, and relates it to contemporary tourism and mobility.
Jean-Luc Nancy and the Thinking of Otherness explores Nancy's opening of otherness at the heart of existence through the transformative appropriation of Heidegger and Levinas.
Praise for the first edition: "This is a great introduction and contribution to the subject. It is unusually wide-ranging, covering the historical development of cultural theory and deftly highlighting key problems that just won′t go away." - Matthew Hills, Cardiff University "To say that the scope of the book′s coverage is wide-ranging would be an under-statement. Few texts come to mind that have attempted such a thorough overview of the central tenets of cultural studies." - Stuart Allan, Bournemouth University This fully revised edition of the best selling introduction to cultural studies offers students an authoritative, comprehensive guide to cultural studies. Clearly written and accessibly organized the book provides a major resource for lecturers and students. Each chapter has been extensively revised and new material covers globalization, the post 9/11 world and the new language wars. The emphasis upon demonstrating the philosophical and sociological roots of cultural studies has been retained along with boxed entries on key concepts and issues. Particular attention is paid to demonstrating how cultural studies clarifies issues in media and communication studies, and there are chapters on the global mediasphere and new media cultures. This is a tried and tested book which has been widely used wherever cultural studies is taught. It is an indispensable undergraduate text and one that will appeal to postgraduates seeking a ′refresher′ which they can dip into.
When COVID-19 spread across the globe, people experienced protection measures such as social distancing, self-isolation, and self-quarantine as a kind of shutting down or putting on hold of life. Many referred to this experience as a pause. Calling attention to the long history of grappling with pausing in writing on plagues and pandemics, Julian Haladyn explores the pause in its social, political, and personal manifestations over the extended pandemic. The schism between the virus and its prohibitions on human engagement with the world produced a crisis, Haladyn argues, in which, for an extended time, it was impossible to imagine a future. The Pause is a cultural inquiry into a moment when human life around the globe seemed to halt, as well as the social symptoms that defined it. The Pause captures the experience of being inside the pandemic, even as that experience continues to unfold. It regards our current situation not for what it may become in the future, but rather as a moment of mass uncertainty and existential hesitation.
Every day we eat, walk, make use of our skills, meet or talk with our friends, and fall into the inevitable habits that eventually become important elements in making us what we are. The thirteen highly personal essays composing this volume anatomize the elements of our lives, with stress on the cultures of the industrialized West. Sociologists, historians, writers, and the general reader will all emerge refreshed from this excursion into the hidden mysteries of that most obvious of conditions – daily life.
Picturing home examines the depiction of domestic life in British feature films made and released in the 1940s. It explores how pictorial representations of home onscreen in this period re-imagined modes of address that had been used during the interwar years to promote ideas about domestic modernity. Picturing home provides a close analysis of domestic life as constructed in eight films, contextualising them in relation to a broader, offscreen culture surrounding the suburban home, including magazines, advertisements, furniture catalogues and displays at the Daily Mail Ideal Home Exhibition. In doing so, it offers a new reading of British 1940s films, which demonstrates how they trod a delicate path balancing prewar and postwar, traditional and modern, private and public concerns.
SCM Veritas engages in critical and original questions of pressing concern to both philosophers and theologians. The major concern of all books in this series is to display a rigorous theological critique of categories not often thought to be theological in character, such as phenomenology or metaphysics which are mainly considered as philosophical categories. All the books in this series aim to illustrate that without theology, something essential is lost in our accounts of such categories not only in the abstract but in the way in which we inhabit the world. Phenomenology and the Holy is a study of the holy which attempts to find this both in the ordinary and in the sublime, thus challenging the reduction of the holy to a discrete and separated field of experience. Phenomenology is a key area of twentieth-century philosophy in which there is a wide interest, not only among philosophers but also among theologians and religious studies scholars.
Transpoetic Exchange illuminates the poetic interactions between Octavio Paz (1914-1998) and Haroldo de Campos (1929-2003) from three perspectives--comparative, theoretical, and performative. The poem Blanco by Octavio Paz, written when he was Ambassador to India in 1966, and Haroldo de Campos' translation (or what he calls a "transcreation") of that poem, published as Transblanco in 1986, as well as Campos' Galáxias, written from 1963 to 1976, are the main axes around which the book is organized. Paz and Campos, one from Mexico and the other from Brazil, were central figures in the literary history of the second half of the 20th century, in Latin America and beyond. Both poets signal the direction of poetry as that of translation, understood as the embodiment of otherness and of a poetic tradition that every new poem brings back as a Babel re-enacted. This volume is a print corollary to and expansion of an international colloquium and poetic performance held at Stanford University in January 2010 and it offers a discussion of the role of poetry and translation from a global perspective. The collection holds great value for those interested in all aspects of literary translation and it enriches the ongoing debates on language, modernity, translation and the nature of the poetic object.