Explores the history, significance, and future of tradition as a whole. This book reveals the importance of tradition to social and political institutions, technology, science, literature, religion, and scholarship.

In The Symbol Theory, Norbert Elias draws together three central themes. At the first level the book is concerned with symbols in relation to language, knowing and thinking. Secondly, Elias stresses that symbols are also tangible sound-patterns of human communication, made possible by the evolutionary biological precondition of human vocal apparatus. At a third level, the book addresses theoretical issues about the ontological status of knowledge, moving beyond traditional philosophical dualisms such as subject//object and idealism//materialism. The bulk of The Symbol (...) Theory was published in Vol 6, issues 2, 3 and 4 of Theory, Culture & Society. (shrink)

What is Sociology? presents in concise and provocative form the major ideas of a seminal thinker whose work--spanning more than four decades--is only now gaining the recognition here it has long had in Germany and France. Unlike other post-war sociologists, Norbert Elias has always held the concept of historical development among his central concerns; his dynamic theories of the evolution of modern man have remedied the historical and epistemological shortcomings of structualism and ethno-methodology. What is Sociology? refines the arguments that (...) were first found in Elias' massive work on the civilizing process, in which he formulated his major assertions about the interdependence of the making of modern man and modern society. It is Elias' contention that changes in personality structure--embodied in phenomena ranging from table manners and hygiene habits to rites of punishment and courtly love--inevitably reflect and mould patterns of control generated by new political and social instututions. Elias' rejection of a dichotomy between individual and society, and his use of psychoanalysis, political theory, and social history, help restore a fullness of resource to sociology. (shrink)

Written with verve and intensity (and a good bit of wordplay), this is the long-awaited study of Flaubert and the modern literary field that constitutes the ...

True to his longstanding bias against grand unifying theories, Hacking chooses to pursue these questions by focusing on a specific case of memory-thinking: the history of multiple personality. His excavation of the contemporary terrain leads him, however, to the surprisingly grand conclusion that the various sciences of memory—including neurological studies of localization, experimental studies of recall, and studies in the psychodynamics of memory—all emerged in connection with attempts to “scientize the soul,” as a result of which spiritual battles have been (...) recast as scientific controversies “where we suppose there is such a thing as knowledge to be had”. (shrink)

Matsuda proves his argument by visiting a remarkable array of "memory-sites": the destruction of a monument to Napoleon during the 1871 Paris Commune; the frantic selling of futures on the Paris stock-exchange; the state's forensic search for a vagabond rapist and murderer; a child's perjured testimony on the witness stand; a scientist's dissecting of the human brain; the invention of cameras and the cinema.

Ariès traces Western man's attitudes toward mortality from the early medieval conception of death as the familiar collective destiny of the human race to the modern tendency, so pronounced in industrial societies, to hide death as if it were an embarrassing family secret.

Replete with madwomen, murderers, musicians, and mystics, "Lonely Woman" dramatically interweaves the lives of five women. It remains Takako Takahashi's most sustained and multifaceted fictional realization of her concept of "loneliness.".

Ilya Kukulin. Privatization of a riot: “Second life” of the early Soviet montage. This paper deals with montage in the broad sense of the term: it is discussed not as a principle of film editing, but as an aesthetic method based on the contrasting combination of elements; in the case of literary narrative, montage can be defined as a contrasting parataxis. Being understood in that sense, montage became an international “grand style” of the post-WWI epoch. In the Soviet Union this (...) new method had many ideological connotations. It represented history as creative and cruel violence. Otherwise, art montage wasa method of designing the utopian vision. The following development of montage in Russian culture could be defined as a change of its semantic. It was expelledfrom the Socialist Realism mainstream , but survived in unofficial art of the 1940s and became postutopian. During the “Thaw” period montage methods could indicate the connection of an author with the Soviet or Western European avant-garde of the 1920s. The reconsideration of those methods followed two different ways: imitation of the “resurrection of revolutionary impulses” or deconstruction of Soviet historical and social imagination – also with the tools of montage. This very intensive dialogue with the aesthetic tradition of the 1920s came to an end at the beginning of the 1970s. The authors of uncensored art and literature in that period polemicized not with the 1920s, but with the 1960s. The “living” translation of the early Soviet montage aesthetics has been settled. (shrink)