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In this fascinating book, Michael Herzfeld argues that 'modern' bureaucratically regulated societies are no more 'rational' or less 'symbolic' than the societies traditionally studied by anthropologists. Drawing primarily on the example of modern Greece and utilizing other European materials, he suggests that we cannot understand national bureaucracies divorced from local-level ideas about chance, personal character, social relationships and responsibility. He points out that both formal regulations and day-to-day bureaucratic practices rely heavily on the symbols and language of the moral boundaries between insiders and outsiders; a ready means of expressing prejudice and of justifying neglect. It therefore happens that societies with proud traditions of generous hospitality may paradoxically produce at the official level some of the most calculated indifference one can find anywhere.
In this fascinating book, Michael Herzfeld argues that 'modern' bureaucratically regulated societies are no more 'rational' or less 'symbolic' than the societies traditionally studied by anthropologists. Drawing primarily on the example of modern Greece and utilizing other European materials, he suggests that we cannot understand national bureaucracies divorced from local-level ideas about chance, personal character, social relationships and responsibility. He points out that both formal regulations and day-to-day bureaucratic practices rely heavily on the symbols and language of the moral boundaries between insiders and outsiders; a ready means of expressing prejudice and of justifying neglect. It therefore happens that societies with proud traditions of generous hospitality may paradoxically produce at the official level some of the most calculated indifference one can find anywhere.
When lives are dominated by hunger, what becomes of love? When assaulted by daily acts of violence and untimely death, what happens to trust? Set in the lands of Northeast Brazil, this is an account of the everyday experience of scarcity, sickness and death that centres on the lives of the women and children of a hillside "favela". Bringing her readers to the impoverished slopes above the modern plantation town of Bom Jesus de Mata, where she has worked on and off for 25 years, Nancy Scheper-Hughes follows three generations of shantytown women as they struggle to survive through hard work, cunning and triage. It is a story of class relations told at the most basic level of bodies, emotions, desires and needs. Most disturbing - and controversial - is her finding that mother love, as conventionally understood, is something of a bourgeois myth, a luxury for those who can reasonably expect, as these women cannot, that their infants will live.
Sociology is concerned with modern society, but has never come to terms with one of the most distinctive and horrific aspects of modernity - the Holocaust. The book examines what sociology can teach us about the Holocaust, but more particularly concentrates upon the lessons which the Holocaust has for sociology. Bauman's work demonstrates that the Holocaust has to be understood as deeply involved with the nature of modernity. There is nothing comparable to this work available in the sociological literature.
Genocide in Rwanda, instability in the Middle East, anarchy on the Internet -- insecurities abound. But do they occur "naturally, " or are they, as this pathbreaking volume suggests, cultural and social productions? Bringing together scholars from political science and anthropology, this collection of essays redirects long-standing views on culture as both a source of insecurity and an object of analysis. The authors present studies whose topics range from traditional security concerns, such as the Cuban missile crisis, the Korean War, and he Middle East, to less conventional issues, including the Internet and national security, multiculturalism and regional economy in New Mexico.
What happens when three hundred alleged squatters go head-to-head with an enormous city government looking to develop the place where they live? As anthropologist Michael Herzfeld shows in this book, the answer can be surprising. He tells the story of Pom Mahakan, a tiny enclave in the heart of old Bangkok whose residents have resisted authorities’ demands to vacate their homes for a quarter of a century. It’s a story of community versus government, of old versus new, and of political will versus the law. Herzfeld argues that even though the residents of Pom Mahakan have lost every legal battle the city government has dragged them into, they have won every public relations contest, highlighting their struggle as one against bureaucrats who do not respect the age-old values of Thai/Siamese social and cultural order. Such values include compassion for the poor and an understanding of urban space as deeply embedded in social and ritual relations. In a gripping account of their standoff, Herzfeld—who simultaneously argues for the importance of activism in scholarship—traces the agile political tactics and styles of the community’s leadership, using their struggle to illuminate the larger difficulties, tensions, and unresolved debates that continue to roil Thai society to this day.
This groundbreaking book provides an analytical tool to understand how and why evil works in the world as it does. Deconstructing memory, history, and myth as received wisdom, the volume critically examines racism, sexism, poverty, and stereotypes.
The impersonality of social relationships in the society of strangers is making majorities increasingly nostalgic for a time of closer personal ties and strong community moorings. The constitutive pluralism and hybridity of modern living in the West is being rejected in an age of heightened anxiety over the future and drummed up aversion towards the stranger. Minorities, migrants and dissidents are expected to stay away, or to conform and integrate, as they come to be framed in an optic of the social as interpersonal or communitarian. Judging these developments as dangerous, this book offers a counter-argument by looking to relations that are not reducible to local or social ties in order to offer new suggestions for living in diversity and for forging a different politics of the stranger. The book explains the balance between positive and negative public feelings as the synthesis of habits of interaction in varied spaces of collective being, from the workplace and urban space, to intimate publics and tropes of imagined community. The book proposes a series of interventions that make for public being as both unconscious habit and cultivated craft of negotiating difference, radiating civilities of situated attachment and indifference towards the strangeness of others. It is in the labour of cultivating the commons in a variety of ways that Amin finds the elements for a new politics of diversity appropriate for our times, one that takes the stranger as there, unavoidable, an equal claimant on ground that is not pre-allocated.
"Part treatise, part memoir, part call to action, Tell Me How It Ends inspires not through a stiff stance of authority, but with the curiosity and humility Luiselli has long since established." —Annalia Luna, Brazos Bookstore "Valeria Luiselli's extended essay on her volunteer work translating for child immigrants confronts with compassion and honesty the problem of the North American refugee crisis. It's a rare thing: a book everyone should read." —Stephen Sparks, Point Reyes Books "Tell Me How It Ends evokes empathy as it educates. It is a vital contribution to the body of post-Trump work being published in early 2017." —Katharine Solheim, Unabridged Books "While this essay is brilliant for exactly what it depicts, it helps open larger questions, which we're ever more on the precipice of now, of where all of this will go, how all of this might end. Is this a story, or is this beyond a story? Valeria Luiselli is one of those brave and eloquent enough to help us see." —Rick Simonson, Elliott Bay Book Company "Appealing to the language of the United States' fraught immigration policy, Luiselli exposes the cracks in this foundation. Herself an immigrant, she highlights the human cost of its brokenness, as well as the hope that it (rather than walls) might be rebuilt." —Brad Johnson, Diesel Bookstore "The bureaucratic labyrinth of immigration, the dangers of searching for a better life, all of this and more is contained in this brief and profound work. Tell Me How It Ends is not just relevant, it's essential." —Mark Haber, Brazos Bookstore "Humane yet often horrifying, Tell Me How It Ends offers a compelling, intimate look at a continuing crisis—and its ongoing cost in an age of increasing urgency." —Jeremy Garber, Powell's Books
National Book Critics Circle Award Finalist Best Book of Fall (Esquire) and a Most Anticipated Book of 2021 (Lit Hub) What Has Happened to Fiction in the Age of Platform Capitalism? Since it was first launched in 1994, Amazon has changed the world of literature. The “Everything Store” has not just transformed how we buy books; it has affected what we buy, and even what we read. In Everything and Less, acclaimed critic Mark McGurl explores this new world where writing is no longer categorized as high or lowbrow, literature or popular fiction. Charting a course spanning from Henry James to E. L. James, McGurl shows that contemporary writing has less to do with writing per se than with the manner of its distribution. This consumerist logic—if you like this, you might also like ...—has reorganized the fiction universe so that literary prize-winners sit alongside fantasy, romance, fan fiction, and the infinite list of hybrid genres and self-published works. This is an innovation to be cautiously celebrated. Amazon’s platform is not just a retail juggernaut but an aesthetic experiment driven by an unseen algorithm rivaling in the depths of its effects any major cultural shift in history. Here all fiction is genre fiction, and the niches range from the categories of crime and science fiction to the more refined interests of Adult Baby Diaper Lover erotica. Everything and Less is a hilarious and insightful map of both the commanding heights and sordid depths of fiction, past and present, that opens up an arresting conversation about why it is we read and write fiction in the first place.