Suchergebnisse

Cover -- Half Title -- Title Page -- Copyright Page -- Contents -- List of Contributors -- Introduction -- Part I. Modes of the Subject in Cultural History -- 1 No Sex Please, Were American: Erotophobia, Liberation, and Cultural History -- 2 Foucault's Technologies of the Self and the Cultural History of Identity -- 3 Foucault s Rhetorical Consciousness and the Possibilities of Acting upon a Regime of Truth -- 4 Power and Political Spirituality: Michel Foucault on the Islamic Revolution in Iran -- Part II. Modes of Doing Cultural History -- 5 Foucault Reformed by Certeau: Historical Strategies of Discipline and Everyday Tactics of Appropriation -- 6 Answering Foucault: Notes on Modes of Order in the Cultural World and the Making of History -- 7 Foucault s Shells, Freud s Symptoms: Towards a Psychoanalytic Conception of Cultural History -- 8 Reading/Writing/Killing: Foucault, Cultural History and the French Revolution -- Part III. Modes of Conceptualizing Cultural History -- 9 The Process of Intellectual Change: A Post-Foucaultian Hypothesis -- 10 Periodization as a Technique of Cultural Identification -- 11 The Suppression of the Negative Moment in Foucault s History of Sexuality -- 12 Foucault in Gay America: Sexuality at Plymouth Plantation -- 13 Philosophy in the Filigree of Power: The Limits of an Immanent Critique -- Bibliography

Australia: A Cultural History, first published in 1988, is still the only short history of Australia from a cultural perspective. It has acquired a unique reputation as an introduction to the development of Australian society and was listed by the historian and public intellectual John Hirst in his 'First XI: The best Australian history books'. The book focuses on the transmission of values, beliefs and customs amongst the diverse mix of peoples who are today's Australians. The story begins with the 60,000 years of the Aboriginal presence and their continuing material and spiritual relationship with the land, and takes readers through the turbulent years of British colonisation and the emergence, through prosperity, war and depression, of the cultural accommodations which have been distinctively Australian. This 3rd Edition concludes with a critical review of the challenges facing contemporary Australia and warns that 'we may get the future we deserve'. [Some images unavailable for OA]

The aim of this book is both to illustrate and to discuss some of the main varieties of cultural history which have emerged since the questioning of what might be called its ""classic"" form, exemplified in the work of Jacob Burckhardt and Johan Huizinga. Among the themes of individual chapters are the history of popular culture, the history of Carnival, the history of mentalities, the history of gestures, the history of jokes, and even the history of dreams. The emphasis of both the introduction and the case-studies which follow is on the variety of forms taken by cultural history tod

The term 'idiot' is a damning put down, whether deployed on the playground or in the board room. People stigmatized as being 'intellectually disabled' today must confront variants of the fear and pity with which society has greeted them for centuries. In this ground-breaking new study Patrick McDonagh explores how artistic, scientific and sociological interpretations of idiocy work symbolically and ideologically in society. Drawing upon a broad spectrum of British, French and American resources including literary works (Wordsworth's The Idiot Boy, Dickens Barnaby Rudge, Conrad's The Secret Agent), pedagogical works (Itard's The Wild Boy of Aveyron, Sequin's Traitement moral, hygiene et education des idiots, and Howe's On the courses of Idiocy), medical and scientific papers (Philippe Pinel, Henry Maudsley, William Ireland, John Langdon Downs, Isaac Kerlin, Henry Goddard) and sociological writings (Mayhew's London Labour and the London Poor, Beames' The Rookeries of London, Dugdal's The Jukes), Idiocy: A Cultural History offers a rich study of the history and representation of mental disability

Cover -- Ugliness: A Cultural History -- Imprint Page -- Contents -- Introduction: Pretty Ugly: A Question of Culture -- One: Ugly Ones: Uncomfortable Anomalies -- Polyphemus: 'A Monster of a Man' -- Dame Ragnell: 'She was a Loathly One!' -- A Grotesque Old Woman: 'The Ugly Duchess' -- William Hay: 'Never was, Nor will be, a Member of the Ugly Club' -- Julia Pastrana: 'The Ugliest Woman in the World' -- Orlan: 'A Beautiful Woman Who is Deliberately Becoming Ugly' -- Ugly Ones: Uncomfortably Grouped -- Two: Ugly Groups: Resisting Classification -- Monsters and Monstrosities: Bordering Uglies -- Outcasts and Outward Signs: Signifying Uglies -- Primitives and Venuses: Colonizing Uglies -- Broken Faces and Degenerate Bodies: Militarizing Uglies -- Ugly Laws and Ugly Dolls: Legislating Uglies -- Uglies United? Commercializing Ugly Groups -- Three: Ugly Senses: Transgressing Perceived Borders -- Ugly Sight: Seeing is Believing? -- Ugly Sound: Do You Hear What I Hear? -- Ugly Smell: A Nose for Trouble? -- Ugly Taste: Are You What You Eat? -- Ugly Touch: Do Not Touch? -- Sixth Sense: Feeling is Believing? -- Epilogue: Ugly us: A Cultural Quest? -- References -- Acknowledgements -- Photo Acknowledgements -- Index.

One of our bestselling and most respected cultural critics, Naomi Wolf, acclaimed author of The Beauty Myth and The End of America, brings us an astonishing work of cutting-edge science and cultural history that radically reframes how we understand the vagina-and, consequently, how we understand women. A "New Biography," Vagina is at once serious, provocative, and immensely entertaining-a radical and endlessly fascinating exploration of the gateway to female consciousness from a remarkable writer and thinker at the forefront of the new feminism.

Across the humanities and the social sciences, disciplinary boundaries have come into question as scholars have acknowledged their common preoccupations with cultural phenomena ranging from rituals and ceremonies to texts and discourse. Literary critics, for example, have turned to history for a deepening of their notion of cultural products; some of them now read historical documents in the same way that they previously read "great" texts. Anthropologists have turned to the history of their own discipline in order to better understand the ways in which disciplinary authority was constructed. As historians have begun to participate in this ferment, they have moved away from their earlier focus on social theoretical models of historical development toward concepts taken from cultural anthropology and literary criticism.Much of the most exciting work in history recently has been affiliated with this wide-ranging effort to write history that is essentially a history of culture. The essays presented here provide an introduction to this movement within the discipline of history. The essays in Part One trace the influence of important models for the new cultural history, models ranging from the pathbreaking work of the French cultural critic Michel Foucault and the American anthropologist Clifford Geertz to the imaginative efforts of such contemporary historians as Natalie Davis and E. P. Thompson, as well as the more controversial theories of Hayden White and Dominick LaCapra. The essays in Part Two are exemplary of the most challenging and fruitful new work of historians in this genre, with topics as diverse as parades in 19th-century America, 16th-century Spanish texts, English medical writing, and the visual practices implied in Italian Renaissance frescoes. Beneath this diversity, however, it is possible to see the commonalities of the new cultural history as it takes shape. Students, teachers, and general readers interested in the future of history will find these essays stimulating and provocative

Davetian's rich, multi-dimensional review of civility from 1200 to the present day provides an in-depth analysis of the social and personal psychology of human interaction and charts a new course for the study and understanding of civility and civil society

Darkness divides and enlivens opinion. Some are afraid of the dark, or at least prefer to avoid it, and there are many who dislike what it appears to stand for. Others are drawn to this strange domain, delighting in its uncertainties, lured by all the associations of folklore and legend, by the call of the mysterious and of the unknown. The history of our attitudes toward darkness—toward what we cannot quite make out, in all its physical and metaphorical manifestations—challenges the very notion of a world that we can fully comprehend. In this book, Nina Edwards explores darkness as both a physical feature and cultural image, through themes of sight, blindness, consciousness, dreams, fear of the dark, night blindness, and the in-between states of dusk or fog, twilight and dawn, those points or periods of obscuration and clarification. Taking us across the ages, from the dungeons of Gothic novels to the concrete bunkers of Nordic Noir TV shows, Edwards interrogates the full sweep of humanity's attempts to harness and suppress the dark first through our ability to control fire and, later, illuminate the world with electricity. She explores how the idea of darkness pervades art, literature, religion, and our everyday language. Ultimately, Edwards reveals how darkness, whether a shifting concept or palpable physical presence, has fed our imaginations.