Norbert Elias’s concept of the civilizing process is perhaps the most controversial aspect of his work, attracting frequent criticism for its perceived Eurocentrism, as well as impassioned defences that critics have misunderstood the concept. In this piece, I explore how The Civilizing Process channels unacknowledged Eurocentric stereotypes in ways that infuse the theory at a depth level. I then examine the downstream ramifications of these stereotypes by contrasting Elias’s analysis of the Holocaust, as presented in The Germans, with his analysis (...) of colonialism as presented in The Civilizing Process. I argue that Elias’s failure to integrate forms of state violence directed at the colonial periphery undermines his ability to analyse state violence in the core. A more adequate approach would theorize ‘civilization’ as an ambivalent and contradictory process whose violent character is often – though not always – more exposed and visible on the periphery. (shrink)

Dance is addressed as making significance for what Elias terms the civilizing process of early modernity through its contribution to the ennoblement of warriors and the pacification of merchants. The grounds for this are drawn from McNeill's contention that expenditure of muscular energy rhythmically in dance, as in military drill, but with different sociocultural consequences, is a fundamental human device for consolidating community feeling by facilitating cooperation by arousing a warm sense of togetherness. The significance of dance as a sociocultural (...) practice in early modernity is discussed critically through contemporary writings from the 16th and 17th centuries, with particular consideration given to the description of dance as an allegory for moral order in Elyot's manual on the education of the ruler. (shrink)