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Nations, banks and the organisation of power and social life
Jonathan Hearn

4 Culture: nations, banks and the organisation of power and social life There are several reasons for working with and examining the concept of culture in a study such as this. The culture concept has been central to anthropology and has become increasingly prominent in sociology in recent years, and these two disciplines fundamentally inform this book. It has also become a key concept in the subfield of organisational studies, where the idea of ‘organisational cultures’ has become very influential. And this concern with culture radiates from more general

in Salvage ethnography in the financial sector
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Artefacts and disciplinary formation
Samuel J.M.M. Alberti

3 Culture: artefacts and disciplinary formation The Manchester Museum was founded as an institution devoted to natural history, but did not remain so for long. Even by the time it was fully opened in 1890, some man-made things were on display beside the natural specimens. The proliferation of these kinds of objects during its early decades was not planned by Museum staff, but rather expanded thanks to influential donors. Here I trace the differentiation of an intellectually and architecturally distinct portion of the collection devoted to Egyptology

in Nature and culture
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Lynn Abrams

myth and materiality in a woman’s world 5 Culture The thing that was unusual was that the women were in among things. That was the unusual thing. They bwirna supposed to be. (Shetland Archive, 3/1/123: John Gear) he extensive nature of everyday intercourse between women in Shetland spawned complex sets of relationships. Women’s prominence and independence in the world of work, their residential groupings and their mutual reliance on one another in the context of a high male absence and death rate resulted in a high degree of female solidarity governed by codes

in Myth and materiality in a woman’s world
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Mary Gilmartin

5 Culture Culture, Raymond Williams famously said, is one of the most complicated words in the English language. Trying to make sense of the term, Williams suggested that it has two broad meanings. The first refers to a structure of feeling; the second refers to a set of productions that reflect on and attempt to shape and mould that structure of feeling (Williams 1985). It is easier to grasp what Williams means by a set of productions: these include material and symbolic things and practices such as literature, art, music, food, clothes and building styles

in Ireland and migration in the twenty-first century
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Frances Robertson

Print culture cannot be reduced to one narrative; for example the introduction of print culture in the Middle East or in India did not necessarily lead to the development of a Western humanist mindset, but was instead often adopted in order to attack colonial rule or secular values. ‘Print culture’ (as a kind of slogan) has also often been

in Perspectives on contemporary printmaking
From caricature to portraiture
Henry Miller

3 Radical visual culture: from caricature to portraiture The previous chapter highlighted the importance of portraiture for shaping the identities of the political parties formed in the wake of the 1832 Reform Act. However, it was radicals who were consistently the most innovative in their exploitation of new visual technologies. This was no coincidence. Portraiture was even more valuable to radical movements, which frequently experienced media indifference or hostility. To counter this, radicals produced their own series to project their own self-image to

in Politics personified
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Thomas Linehan

Culture was at the centre of the fascist political project in interwar Britain. British fascism was a cultural phenomenon as much as it was a movement for political or economic change. According to Alexander Raven-Thomson of the BUF, fascism was ‘a new and revolutionary creed of national and cultural regeneration’. 1 Cultural concerns permeated most aspects of British fascism, giving shape and coherence to many of its ideological preoccupations and perceptions. Like other areas of thought associated with British fascism, this cultural disposition did not have

in British Fascism 1918-39
The activist artist challenging the ever-present colonial imagination
Claudia Tazreite

Introduction This chapter is grounded in a critique of the colonial values and imagination that persist in contemporary nation-states, often expressed in racism and exclusion observable as systematised devaluation of some humans. Racialisation takes many forms, perhaps most commonly in state implemented policies, laws, and administrative measures of dividing and categorising populations. While the political context is important in understanding the felt experience of racialisation, here, my focus is on the role of art, visual culture, and activist artists in

in Art and migration
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Phillipp R. Schofield

In this final chapter, we will explore one other element of the historiography of the medieval English peasantry – culture. Depending upon how we choose to define culture – and it is here taken to mean the ways in which a society or a sub-section of its members represent and distinguish themselves and are represented/distinguished through various kinds of self-selected behaviour, including types of dress, food and drink, speech, play, manners, as well as shared and often distinctive political, religious and social ideas or concepts

in Peasants and historians
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Tim Aistrope

WHILE CONSPIRACY theories have usually been understood as fringe beliefs, commentators and scholars increasingly note their prevalence in mainstream American culture – in the activist left and movement conservatism, in foreign policy rhetoric about looming threats, and in popular narratives from the spy thriller novel through to gamer culture. According to

in Conspiracy theory and American foreign policy