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Laura L. Adams offers unique insight into nation building in Central Asia during the post-Soviet era through an exploration of Uzbekistan’s production of national culture in the 1990s. As she explains, after independence the Uzbek government maintained a monopoly over ideology, exploiting the remaining Soviet institutional and cultural legacies. The state expressed national identity through tightly controlled mass spectacles, including theatrical and musical performances. Adams focuses on these events, particularly the massive outdoor concerts the government staged on the two biggest national holidays, Navro’z, the spring equinox celebration, and Independence Day. Her analysis of the content, form, and production of these ceremonies shows how Uzbekistan’s cultural and political elites engaged in a highly directed, largely successful program of nation building through culture. Adams draws on her observations and interviews conducted with artists, intellectuals, and bureaucrats involved in the production of Uzbekistan’s national culture. These elites used globalized cultural forms such as Olympics-style spectacle to showcase local, national, and international aspects of official culture. While these state-sponsored extravaganzas were intended to be displays of Uzbekistan’s ethnic and civic national identity, Adams found that cultural renewal in the decade after Uzbekistan’s independence was not so much a rejection of Soviet power as it was a re-appropriation of Soviet methods of control and ideas about culture. The public sphere became more restricted than it had been in Soviet times, even as Soviet-era ideas about ethnic and national identity paved the way for Uzbekistan to join a more open global community.
With the collapse of communism, post-communist societies scrambled to find meaning to their new independence. Central Asia was no exception. Events, relationships, gestures, spatial units and objects produced, conveyed and interpreted meaning. The new power container of the five independent states of Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan would significantly influence this process of signification. Post-Soviet Central Asia is an intriguing field to examine this transformation: a region which did not see an organised independence movement develop prior to Soviet implosion at the centre, it provokes questions about how symbolisation begins in the absence of a national will to do so. The transformation overnight of Soviet republic into sovereign state provokes questions about how the process of communism-turned-nationalism could become symbolised, and what specific role symbols came to play in these early years of independence. Characterized by authoritarianism since 1991, the region’s ruling elites have enjoyed disproportionate access to knowledge and to deciding what, how and when that knowledge should be applied. The first of its kind on Central Asia, this book not only widens our understandings of developments in this geopolitically important region but also contributes to broader studies of representation, ritual, power and identity. This book was published as a special issue of Europe-Asia Studies.
Sutter's the guy you want at your party. Aimee's not. She needs help and it's up to Sutter to show Aimee a splendiferous time and then let her go forth and prosper. But Aimee's not like other girls and before long he's over his head. For the first time in his life he has the power to make a difference in someone else's life - or ruin it forever.
Struggling to make sense of the Revolution of 1789, the French in the nineteenth century increasingly turned to visual forms of historical representation in a variety of media. Maurice Samuels shows how new kinds of popular entertainment introduced during and after the Revolution transformed the past into a spectacle. The wax display (in which visitors circulated amid life-size statues of historical figures), the phantasmagoria show (in which images of historical personages were projected onto smoke or invisible screens), and the panorama (in which spectators viewed giant circular canvases depicting historical scenes) employed new optical technologies to entice crowds of spectators. Such entertainments, Samuels asserts, provided bourgeois audiences with an illusion of mastery over the past, allowing them to picture their new role as historical agents.Samuels demonstrates how the spectacular mode of historical representation pervaded historiography, drama, and the novel during the Romantic period. He then argues that the early Realist fiction of Balzac and Stendhal emerged as a critique of the spectacular historical imagination. By investigating how postrevolutionary France envisioned the past, Samuels illuminates a vital moment in the cultural history of modernity.
Viewing hip-hop as the postmodern successor to African American culture's Jazz modernism, this book examines hip-hop music's role in the history of the African-American experience.
With fresh and provocative insights into the everyday reality of politics in post-Soviet Central Asia, this volume moves beyond commonplaces about strong and weak states to ask critical questions about how democracy, authority, and justice are understood in this important region. In conversation with current theories of state power, the contributions draw on extensive ethnographic research in settings that range from the local to the transnational, the mundane to the spectacular, to provide a unique perspective on how politics is performed in everyday life.
This book is about transformation of the state and an incomplete state-building. It defies the transitology assumption of continuity, linearity and dichotomy of formal and informal in the transformation of the state. Contrary to the conventional approaches, it claims that any social order or its political scaffolding, the state, is always incomplete and we need to develop cognitive maps to better understand that incompleteness. It reflects on the social practices, processes and patterns that evolve as a non-linear result of three sets of factors: those that are historical, external, and elite-driven. Three Central Asian states - Uzbekistan, Tajikistan, and Kyrgyzstan - are examined here comparatively as case studies, as Central Asia represents an interesting terrain to challenge conventional understanding of the state. Specifically, the book captures a paradox at hand: how come three states, which made different political, economic, cultural, and social choices at the outset of their independence in the 1990s, have ended up as so-called “weak states” in the 2000s and onwards? This puzzle can be better understood through looking at the relationship among three main sets of factors that shape state-building processes, such as history, external actors, and local elites. This book applies an interdisciplinary approach, combining political anthropology, political economy, sociology, and political science. It helps conceptualize and understand social and political order beyond the “failed state” paradigm
Focusing on Soviet culture and its social ramifications both during the Soviet period and in the post-Soviet era, this book addresses important themes associated with Sovietisation and socialisation in the Central Asian states of Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, and Uzbekistan. The book contains contributions from scholars in a variety of disciplines, and looks at topics that have been somewhat marginalised in contemporary studies of Central Asia, including education, anthropology, music, literature and poetry, film, history and state-identity construction, and social transformation. It examines how the Soviet legacy affected the development of the republics in Central Asia, and how it continues to affect the society, culture and polity of the region. Although each state in Central Asia has increasingly developed its own way, the book shows that the states have in varying degrees retained the influence of the Soviet past, or else are busily establishing new political identities in reaction to their Soviet legacy, and in doing so laying claim to, re-defining, and reinventing pre-Soviet and Soviet images and narratives. Throwing new light and presenting alternate points of view on the question of the Soviet legacy in the Soviet Central Asian successor states, the book is of interest to academics in the field of Russian and Central Asian Studies.
In two volumes, the SAGE Handbook of Social Anthropology provides the definitive overview of contemporary research in the discipline. It explains the what, where, and how of current and anticipated work in Social Anthropology. With 80 authors, contributing more than 60 chapters, this is the most comprehensive and up-to-date statement of research in Social Anthropology available and the essential point of departure for future projects. The Handbook is divided into four sections: -Part I: Interfaces examines Social Anthropology′s disciplinary connections, from Art and Literature to Politics and Economics, from Linguistics to Biomedicine, from History to Media Studies. -Part II: Places examines place, region, culture, and history, from regional, area studies to a globalized world -Part III: Methods examines issues of method; from archives to war zones, from development projects to art objects, and from ethics to comparison -Part IV: Futures anticipates anthropologies to come: in the Brain Sciences; in post-Development; in the Body and Health; and in new Technologies and Materialities Edited by the leading figures in social anthropology, the Handbook includes a substantive introduction by Richard Fardon, a think piece by Jean and John Comaroff, and a concluding last word on futures by Marilyn Strathern. The authors - each at the leading edge of the discipline - contribute in-depth chapters on both the foundational ideas and the latest research. Comprehensive and detailed, this magisterial Handbook overviews the last 25 years of the social anthropological imagination. It will speak to scholars in Social Anthropology and its many related disciplines.