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Culture remains an ambiguous concept for psychiatry: deprecated by the assump tion that it is secondary to biomedical reality, yet at the same time some notion of 'culture' has served to represent the modern against the primitive. Contemporary clinical understandings of culture derive from imperial medicine which had applied the accepted distinction between the biological form and the cultural content of psychopathology to local illnesses which could not easily be fitted into the European nosology. The later concept of 'culture-bound pathology', like the psychoanalysts' 'modal personality', only imperfectly escaped from evaluative assumptions of 'development', but it is difficult to argue that psychiatry provided British colonial administrations with any significant ideological justification.

The dichotomy of popular vs elite art is explored. During the eighteenth century, previous concepts of specific arts were replaced by a concept of art as a unity seeking a new integral mythology, a concept shaped by Romanticism. This movement has a central image: the artist in conflict over whether to follow his own inspirations or the demands of the market. Low culture, based on mass production, confronts high culture, & the two mutually deny one another. Rejections of mass culture tend to take the form of movements; rejections of the avant garde generally take the form of affirmations of isolated great works. The recognition that art can become mass culture implies the unexplored possibility that mass culture can become art. In the struggle to emancipate works of art from religious values, art has become an expression of a religious impulse. There is a need to recognize the finiteness of art works & to include the nonelite arts in a concept of art that includes all expressions of the impulse to artistic creation. The ultimate direction of this is reduction of the differences between life & art. W. H. Stoddard.

On April 2, 2005, a month-and-a half after arriving in Iraq, I was in combat for the first time. We were pounded with mortars, rockets, grenades, vehicle-borne explosives, and smallarms fire for nearly two hours. After the fighting stopped, I interrogated a few of the Iraqis who were picked up by Marines during the attack. After I wrote my reports for the night, I went to the chow hall, ate breakfast, and walked back to my bunk. I lay down and slept like a baby. I slept well every night I was in Iraq. I easily shrugged off every issue that complicated my life: problems with girls, disagreements with superiors, arguments with friends. I would grow angry about the situation in Iraq from time to time, but my anger never affected my work, and I never lost any sleep over it. But when I returned to the United States, things were different.

Abstract
This chapter addresses books published in the field of visual culture in 2019 and is divided into three sections: 1. Race and Art; 2. Art and the Body; 3. Art in Eastern Europe The books under review cover a broad range of subjects within their specialities, but reflect general trends in contemporary writing and study in the field of visual culture. The first section looks at two publications that deal with the black experience in art: Darby English's To Describe a Life: Notes from the Intersection of Art and Race Terror and The Place Is Here, edited by Nick Aikens and Elizabeth Robles. The second section examines books that see art through bodies: Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism's Legendary Art School, edited by Elizabeth Otto and Patrick Rössler; Sculpture, Sexuality and History: Encounters in Literature, Culture and the Arts from the Eighteenth Century to the Present, edited by Jana Funke and Jess Grove; and Queer Difficulty in Art and Poetry: Rethinking the Sexed Body in Verse and Visual Culture, edited by Jongwoo Jeremy Kim and Christopher Reed. The third and final section looks at publications about art and eastern Europe: Marta Filipová's Modernity, History, and Politics in Czech Art and Klara Kemp-Welch's Networking the Bloc: Experimental Art in Eastern Europe, 1965–1981.

Through popular culture, we can define, explore and experiment with our identities. This vibrant text provides an understanding of popular culture in a globalized world through the intersection of sociology and cultural studies, combining cultural theory with a wide range of examples from everyday life, from fashion to social networking and music.

Drawing on a vast array of research contexts ranging from brand collecting, globalizing food in India, and art consumption to rock festivals, dog shows, and fan fiction, this volume suggests both the breadth and depth encompassed by Consumer Culture Theory (CCT). CCT is a specific interpretive approach to understanding consumer behavior that has crystallized in the past few years out of an evolving stream of research conducted over the past few decades. These chapters present cutting edge CCT research and are a subset of the work presented at the first CCT Conference. Besides its focus on cons

AbstractThis year's chapter explores themes of consumption, popular culture, and sustainability in publications from 2018. Starting with the biggest issue we face today—climate change—the aim is to survey and complicate the picture of the consumer and consumer culture by way of refusing some of the more glib accounts of over-consumption. The heavy lifting of the discussion is accomplished by an article that dissects recent scholarship around consumer practice and the environment. This article then forms a framework for looking at books on souvenirs, pop music heritage, digital music, and American popular culture, ending with a sustained look at the cultural anatomy of the hamburger.