Nations, banks and the organisation of power and social life
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
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
myth and materiality in a woman’s world
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
CultureCulture, 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
This book brings together studies of cultural institutions in Manchester from 1850 to the present day, giving an unprecedented account of the city’s cultural evolution. These bring to light the remarkable range of Manchester’s contribution to modern cultural life, including the role of art education, popular theatre, religion, pleasure gardens, clubs and societies. The chapters show the resilience and creativity of Manchester’s cultural institutions since 1850, challenging any simple narrative of urban decline following the erosion of Lancashire’s industrial base, at the same time illustrating the range of activities across the social classes. The essays are organized chronologically. They consider the role of calico printers in the rise of art education in Britain; the origins and early years of the Belle Vue Zoological Gardens; the formation of the Manchester Dante Society in 1906; the importance of theatre architecture in the social life of the city; the place of religion in early twentieth-century Manchester, in the case of its Methodist Mission; the cosmopolitan nature of the Manchester International Club, founded in 1937; cultural participation in contemporary Manchester; and questions of culture and class in the case of a contemporary theatre group.
This book looks at a much-misunderstood aspect of the Cuban Revolution: the place of literature and the creation of a literary culture. Based on over 100 interviews with a wide range of actors involved in the structures and processes that produce, regulate, promote and consume literature on the island, it goes beyond the conventional approach (the study of individual authors and texts) and the canon of texts known outside Cuba. The book thus presents a historical analysis of the evolution of literary culture from 1959 to the present, as well as a series of more detailed case studies (on writing workshops, the Havana Book Festival and the publishing infrastructure) that reveal how this culture is created in contemporary Cuba. It contributes a new and complex vision of revolutionary Cuban culture.
This book deals with the inherent violence of race relations in two important countries that remain iconic expressions of white supremacy in the twentieth century. It does not just reconstruct the era of violence, but contrasts the lynch culture of the American South to the bureaucratic culture of violence in South Africa. By contrasting mobs of rope-wielding white Southerners to the gun-toting policemen and administrators who formally defended white supremacy in South Africa, the book employs racial killing as an optic for examining the distinctive logic of the racial state in the two contexts. Combining the historian's eye for detail with the sociologist's search for overarching claims, it explores the systemic connections amongst three substantive areas to explain why contrasting traditions of racial violence took such firm root in the American South and South Africa.
This book brings together political and cultural historians, theatre and performance scholars, and specialists in the study of popular culture. The essays offer a series of shared and interdisciplinary approaches to the material and conceptual dimensions of ‘performance’ as an analytical category in order to analyse the cultural work of the theatre in the wider realm of public political life in nineteenth-century Britain.
Never has a reconsideration of the place of drugs in our culture been more urgent than it is today. Drugs are seen as both panaceas and panapathogens, and the apparent irreconcilability of these alternatives lies at the heart of the cultural crises they are perceived to engender. Yet the meanings attached to drugs are always a function of the places they come to occupy in culture. This book investigates the resources for a re-evaluation of the drugs and culture relation in several key areas of twentieth-century cultural and philosophical theory. Addressing themes such as the nature of consciousness, language and the body, alienation, selfhood, the image and virtuality, the nature/culture dyad and everyday life – as these are expressed in the work of such key figures as Freud, Benjamin, Sartre, Derrida, Foucault and Deleuze – it argues that the ideas and concepts by which modernity has attained its measure of self-understanding are themselves, in various ways, the products of encounters with drugs and their effects. In each case, the reader is directed to the points at which drugs figure in the formulations of ‘high theory’, and it is revealed how such thinking is never itself a drug-free zone. Consequently, there is no ground on which to distinguish ‘culture’ from ‘drug culture’ in the first place.
During the nineteenth century industrial Lancashire became a leading national and international art centre. In 1857 Manchester hosted the international Art Treasures Exhibition at Old Trafford, arguably the single most important art exhibition every held. By the end of the century almost every major Lancashire town possessed an art gallery, while Lancashire art schools and artists were recognised nationally and internationally. This book examines the reasons for the remarkable rise of visual art in Lancashire and its relationship to the rise of the commercial and professional classes who supported it. Lancashire is rarely seen by outsiders as a major cultural centre but the creation of a network of art institutions facilitated a vibrant cultural life and shaped the civic identity of its people. The modern industrial towns of Lancashire often looked to the cultural history of other great civilisations to understand the rapidly changing world around them. Roscoe’s Liverpool of the late eighteenth century emulated Medici’s Florence, Fairbairn’s Manchester looked to Rome, while a century later Preston built an art gallery as a tribute to Periclean Athens. Yet the art institutions and movements of the county were also distinctively modern. Many embraced the British fashions of the time, while some looked to new art movements abroad. Art institutions also became a cultural battleground for alternative visions of the future, from those that embraced modern mass production technologies and ‘commercial art’ to those that feared technology and capitalism would destroy artistic creativity and corrode standards of excellence.