Carl A. Raschke
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231173841
- eISBN:
- 9780231539623
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231173841.003.0003
- Subject:
- Religion, Philosophy of Religion
The difference between “value of origin” and “origin of value”—is what philosophy as genealogy seeks to discern and in the process opens up an interval at a site of experience that is neither ...
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The difference between “value of origin” and “origin of value”—is what philosophy as genealogy seeks to discern and in the process opens up an interval at a site of experience that is neither conceptual nor purely “aesthetic.” We may call this interval the space of the experience of art, which allows us to intuit both the force that gives rise to the experience and the event of its formation that illumines in its plasticity. But in recognizing this moment of valuation, genealogy goes even one step further. It arrives at the threshold of establishing how force sets in motion the kind of complex value structures and value assemblages that inform the collective life of humanity. In short, it seeks to ascertain the force that constitutes the political.Less
The difference between “value of origin” and “origin of value”—is what philosophy as genealogy seeks to discern and in the process opens up an interval at a site of experience that is neither conceptual nor purely “aesthetic.” We may call this interval the space of the experience of art, which allows us to intuit both the force that gives rise to the experience and the event of its formation that illumines in its plasticity. But in recognizing this moment of valuation, genealogy goes even one step further. It arrives at the threshold of establishing how force sets in motion the kind of complex value structures and value assemblages that inform the collective life of humanity. In short, it seeks to ascertain the force that constitutes the political.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0009
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter discusses the taxonomy of imaginary literary works (supplementing the taxonomy of fictionalized life‐writings proposed in Chapter 5), and their scarcity during the nineteenth century. It ...
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This chapter discusses the taxonomy of imaginary literary works (supplementing the taxonomy of fictionalized life‐writings proposed in Chapter 5), and their scarcity during the nineteenth century. It concludes the discussion of Joyce, and ends with an account of Stein's Autobiography of Alice B. Toklas as an indisputable example of a fictionally authored auto/biography.Less
This chapter discusses the taxonomy of imaginary literary works (supplementing the taxonomy of fictionalized life‐writings proposed in Chapter 5), and their scarcity during the nineteenth century. It concludes the discussion of Joyce, and ends with an account of Stein's Autobiography of Alice B. Toklas as an indisputable example of a fictionally authored auto/biography.
Markus Eberl
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780813056555
- eISBN:
- 9780813053486
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813056555.001.0001
- Subject:
- History, Cultural History
Innovation causes change. Indeed, modern Western societies see it as a crucial asset to advance. But can it also explain change in ancient societies? This book approaches material change as a crucial ...
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Innovation causes change. Indeed, modern Western societies see it as a crucial asset to advance. But can it also explain change in ancient societies? This book approaches material change as a crucial component of innovation; that is, the materialization of ideas that become widely adopted. Individuals exercise their agency not only to maintain society but also to cause change through inventions. Here, a symbolic approach is developed to conceptualize their creativity. Metonyms and metaphors link knowledge domains in novel but incomplete ways that imply a meta-discourse on knowledge. Their awareness allows individuals to imagine alternative worlds and trace a coherent path of action through this Garden of Forking Paths. The material nature of inventions exhibits interaction and adoption publicly. Individual decision-making interweaves and the resulting interferences map structural changes in society. The often-long course of existence of ancient societies allows us to trace where and when inventions emerged and how individuals adopted them. Nonetheless, evolutionary approaches to innovation often privilege Western technology and streamline past material diversity into a discourse on modernity. They ignore how inventions serve culture-specific needs and follow cultural logic. Therefore, this book focuses on Central America’s Classic Maya (A.D. 250–900). It discusses innovation for a diverse society—ranging from divine rulers to farmers—that continually changed over centuries.Less
Innovation causes change. Indeed, modern Western societies see it as a crucial asset to advance. But can it also explain change in ancient societies? This book approaches material change as a crucial component of innovation; that is, the materialization of ideas that become widely adopted. Individuals exercise their agency not only to maintain society but also to cause change through inventions. Here, a symbolic approach is developed to conceptualize their creativity. Metonyms and metaphors link knowledge domains in novel but incomplete ways that imply a meta-discourse on knowledge. Their awareness allows individuals to imagine alternative worlds and trace a coherent path of action through this Garden of Forking Paths. The material nature of inventions exhibits interaction and adoption publicly. Individual decision-making interweaves and the resulting interferences map structural changes in society. The often-long course of existence of ancient societies allows us to trace where and when inventions emerged and how individuals adopted them. Nonetheless, evolutionary approaches to innovation often privilege Western technology and streamline past material diversity into a discourse on modernity. They ignore how inventions serve culture-specific needs and follow cultural logic. Therefore, this book focuses on Central America’s Classic Maya (A.D. 250–900). It discusses innovation for a diverse society—ranging from divine rulers to farmers—that continually changed over centuries.
Suzie Attiwill, Terri Bird, Andrea Eckersley, and Antonia Pont
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781474429344
- eISBN:
- 9781474438568
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474429344.001.0001
- Subject:
- Philosophy, Aesthetics
Practising with Deleuze offers the first systematic reading of Gilles Deleuze’s mature philosophy from the perspective of contemporary creative practitioners, including fine artists, a dancer, a ...
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Practising with Deleuze offers the first systematic reading of Gilles Deleuze’s mature philosophy from the perspective of contemporary creative practitioners, including fine artists, a dancer, a creative writer, designer and philosopher. It offers a way of rethinking notions of aesthetics, art, and creativity within the field of practice. Unconventional in presentation, this book is reflective of the engagement of contemporary creative practices with the generative philosophy of Deleuze. Each chapter focuses on a key aspect of production - practising, forming, framing, experiencing, and encountering - and is accompanied by short summary texts outlining the context of Deleuze’s contributions to each of these aspects. These discussions contextualise Deleuzian thought within a range of practices. In so doing, they enable the reader to approach these philosophical concepts within the milieu of creative practice.Less
Practising with Deleuze offers the first systematic reading of Gilles Deleuze’s mature philosophy from the perspective of contemporary creative practitioners, including fine artists, a dancer, a creative writer, designer and philosopher. It offers a way of rethinking notions of aesthetics, art, and creativity within the field of practice. Unconventional in presentation, this book is reflective of the engagement of contemporary creative practices with the generative philosophy of Deleuze. Each chapter focuses on a key aspect of production - practising, forming, framing, experiencing, and encountering - and is accompanied by short summary texts outlining the context of Deleuze’s contributions to each of these aspects. These discussions contextualise Deleuzian thought within a range of practices. In so doing, they enable the reader to approach these philosophical concepts within the milieu of creative practice.
John Kaag
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780823254934
- eISBN:
- 9780823261031
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823254934.001.0001
- Subject:
- Philosophy, Aesthetics
In this book, John Kaag explores the following questions: What is the imagination? And where does the imagination come from? In order to answer these questions, Kaag explains the way that the concept ...
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In this book, John Kaag explores the following questions: What is the imagination? And where does the imagination come from? In order to answer these questions, Kaag explains the way that the concept of the imagination has been articulated in the history of Western philosophy, concentrating on its development in 18th century German idealism (primarily in the writings of Kant and Schiller) and in 19th century American pragmatism (embodied in the writings of C.S. Peirce). Kaag's historical approach to the imagination reveals important affinities between German idealism and the philosophy of C.S. Peirce. The primary goal of this intellectual history, however, is to reveal crucial point concerning the definition and the origins of the imagination and human creativity. The imagination should not be regarded as a narrow aesthetic faculty, but rather as a process that plays a vital role in human cognition and meaning-making. The imagination has long been regarded as belonging to artists and poets, but what Kaag's account suggests is that this artistic process emerges from natural processes, making sense of Kant's very bold claim that human genius is a “gift of nature.” Kant, Schiller and Peirce—with increasing specificity—argue that the dynamics of nature are in some way continuous with the creativity of human thinking and doing. This position regarding the “nature of the imagination” encourages Kaag to reconsider the unique form of idealism that emerges in post-Kantian thought (an idealism like Peirce's that takes seriously the findings of the empirical sciences). In the final sections of the book, Kaag turns to contemporary cognitive neuroscience to see if this emerging discipline can help chart the way of the imagination.Less
In this book, John Kaag explores the following questions: What is the imagination? And where does the imagination come from? In order to answer these questions, Kaag explains the way that the concept of the imagination has been articulated in the history of Western philosophy, concentrating on its development in 18th century German idealism (primarily in the writings of Kant and Schiller) and in 19th century American pragmatism (embodied in the writings of C.S. Peirce). Kaag's historical approach to the imagination reveals important affinities between German idealism and the philosophy of C.S. Peirce. The primary goal of this intellectual history, however, is to reveal crucial point concerning the definition and the origins of the imagination and human creativity. The imagination should not be regarded as a narrow aesthetic faculty, but rather as a process that plays a vital role in human cognition and meaning-making. The imagination has long been regarded as belonging to artists and poets, but what Kaag's account suggests is that this artistic process emerges from natural processes, making sense of Kant's very bold claim that human genius is a “gift of nature.” Kant, Schiller and Peirce—with increasing specificity—argue that the dynamics of nature are in some way continuous with the creativity of human thinking and doing. This position regarding the “nature of the imagination” encourages Kaag to reconsider the unique form of idealism that emerges in post-Kantian thought (an idealism like Peirce's that takes seriously the findings of the empirical sciences). In the final sections of the book, Kaag turns to contemporary cognitive neuroscience to see if this emerging discipline can help chart the way of the imagination.
Andrea Moro
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262034890
- eISBN:
- 9780262335621
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034890.003.0011
- Subject:
- Linguistics, Psycholinguistics / Neurolinguistics / Cognitive Linguistics
What can we expect to be our understanding of human languages given what we have understood from exploiting the notion of impossible language? The chapter discusses the limits of our understanding, ...
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What can we expect to be our understanding of human languages given what we have understood from exploiting the notion of impossible language? The chapter discusses the limits of our understanding, highlighting the elusiveness of linguistic creativity, and suggest a possible scenario where all syntactic rules can be translated in a geometrical representation (call it “Euclidean Grammars”).Less
What can we expect to be our understanding of human languages given what we have understood from exploiting the notion of impossible language? The chapter discusses the limits of our understanding, highlighting the elusiveness of linguistic creativity, and suggest a possible scenario where all syntactic rules can be translated in a geometrical representation (call it “Euclidean Grammars”).
Andrew Smith
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780719088414
- eISBN:
- 9781526115256
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719088414.001.0001
- Subject:
- Literature, Criticism/Theory
The focus in this book is on how the dead and dying were represented in Gothic texts between 1740 and 1914-between Graveyard poetry and the mass death occasioned by the First World War. The corpse ...
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The focus in this book is on how the dead and dying were represented in Gothic texts between 1740 and 1914-between Graveyard poetry and the mass death occasioned by the First World War. The corpse might seem to have an obvious place in the Gothic imaginary but, as we shall see, the corpse so often refuses to function as a formal Gothic prop and in order to understand why this occurs we need to explore what the corpse figuratively represented in the Gothic during the long nineteenth century. Representations of death often provide a vehicle for other contemplations than just death. A central aim of this study is to explore how images of death and dying were closely linked to models of creativity, which argues for a new way of looking at aesthetics during the period. Writers explored include Edward Young, Ann Radcliffe, Mary Shelley, James Boaden, Edgar Allan Poe, Emily Brontë, George Eliot, Henry Rider Haggard, Bram Stoker and Arthur Machen.Less
The focus in this book is on how the dead and dying were represented in Gothic texts between 1740 and 1914-between Graveyard poetry and the mass death occasioned by the First World War. The corpse might seem to have an obvious place in the Gothic imaginary but, as we shall see, the corpse so often refuses to function as a formal Gothic prop and in order to understand why this occurs we need to explore what the corpse figuratively represented in the Gothic during the long nineteenth century. Representations of death often provide a vehicle for other contemplations than just death. A central aim of this study is to explore how images of death and dying were closely linked to models of creativity, which argues for a new way of looking at aesthetics during the period. Writers explored include Edward Young, Ann Radcliffe, Mary Shelley, James Boaden, Edgar Allan Poe, Emily Brontë, George Eliot, Henry Rider Haggard, Bram Stoker and Arthur Machen.
Jonathan Evans
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781474400176
- eISBN:
- 9781474426909
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474400176.001.0001
- Subject:
- Literature, Women's Literature
The Many Voices of Lydia Davis shows how translation, rewriting and intertextuality are central to the work of Lydia Davis, a major American writer, translator and essayist. Winner of the Man Booker ...
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The Many Voices of Lydia Davis shows how translation, rewriting and intertextuality are central to the work of Lydia Davis, a major American writer, translator and essayist. Winner of the Man Booker International Prize 2013, Davis writes innovative short stories that question the boundaries of the genre. She is also an important translator of French writers such as Maurice Blanchot, Michel Leiris, Marcel Proust and Gustave Flaubert. Translation and writing go hand-in-hand in Davis’s work. Through a series of readings of Davis’s major translations and her own writing, this book investigates how Davis’s translations and stories relate to each other, finding that they are inextricably interlinked. It explores how Davis uses translation - either as a compositional tool or a plot device - and other instances of rewriting in her stories, demonstrating that translation is central for understanding her prose. Understanding how Davis’s work complicates divisions between translating and other forms of writing highlights the role of translation in literary production, questioning the received perception that translation is less creative than other forms of writing.Less
The Many Voices of Lydia Davis shows how translation, rewriting and intertextuality are central to the work of Lydia Davis, a major American writer, translator and essayist. Winner of the Man Booker International Prize 2013, Davis writes innovative short stories that question the boundaries of the genre. She is also an important translator of French writers such as Maurice Blanchot, Michel Leiris, Marcel Proust and Gustave Flaubert. Translation and writing go hand-in-hand in Davis’s work. Through a series of readings of Davis’s major translations and her own writing, this book investigates how Davis’s translations and stories relate to each other, finding that they are inextricably interlinked. It explores how Davis uses translation - either as a compositional tool or a plot device - and other instances of rewriting in her stories, demonstrating that translation is central for understanding her prose. Understanding how Davis’s work complicates divisions between translating and other forms of writing highlights the role of translation in literary production, questioning the received perception that translation is less creative than other forms of writing.
Ulrich Baer
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780823256280
- eISBN:
- 9780823261338
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823256280.003.0025
- Subject:
- Literature, Poetry
In this brief chapter, Rilke’s conviction that every experience in life carried with it a creative mission to be accomplished is discussed.
In this brief chapter, Rilke’s conviction that every experience in life carried with it a creative mission to be accomplished is discussed.
Daniel Punday
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780816696994
- eISBN:
- 9781452953601
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816696994.003.0007
- Subject:
- Literature, Criticism/Theory
The conclusion returns to the issue of the teaching of writing raised in chapter 2, and advocates for an expanded understanding of what it means to help students think about themselves as writers. ...
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The conclusion returns to the issue of the teaching of writing raised in chapter 2, and advocates for an expanded understanding of what it means to help students think about themselves as writers. Too often we talk about the teaching of writing as a matter of encouraging students to embrace their ability to respond to a variety of rhetorical situations in personal, civic, and professional life. Since writing is the emblematic activity of contemporary knowledge work, the composition classroom is an ideal place to address changing attitudes towards work, creativity, and invention. More broadly, as writing becomes a model for a host of professional activities like programming, we should use these classes to help students to find a balance between the individual and the corporate, between the shared and the new, and between the professional and the personal.Less
The conclusion returns to the issue of the teaching of writing raised in chapter 2, and advocates for an expanded understanding of what it means to help students think about themselves as writers. Too often we talk about the teaching of writing as a matter of encouraging students to embrace their ability to respond to a variety of rhetorical situations in personal, civic, and professional life. Since writing is the emblematic activity of contemporary knowledge work, the composition classroom is an ideal place to address changing attitudes towards work, creativity, and invention. More broadly, as writing becomes a model for a host of professional activities like programming, we should use these classes to help students to find a balance between the individual and the corporate, between the shared and the new, and between the professional and the personal.
Yue Chim Richard Wong
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9789888139446
- eISBN:
- 9789888180349
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888139446.003.0011
- Subject:
- Society and Culture, Asian Studies
The author entertains the notion that in the long run, Hong Kong's economic growth counts critically on the creativity and innovation of the citizens. Positive non-interventionism has long been the ...
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The author entertains the notion that in the long run, Hong Kong's economic growth counts critically on the creativity and innovation of the citizens. Positive non-interventionism has long been the guiding principle in managing local economic affairs, and therefore, conspicuously there is merely limited room for positive intervention to prevail in society. This chapter puts forward an argument selective intervention for promoting policies and building institutions to foster creativity and innovation.Less
The author entertains the notion that in the long run, Hong Kong's economic growth counts critically on the creativity and innovation of the citizens. Positive non-interventionism has long been the guiding principle in managing local economic affairs, and therefore, conspicuously there is merely limited room for positive intervention to prevail in society. This chapter puts forward an argument selective intervention for promoting policies and building institutions to foster creativity and innovation.
Marta Iñiguez de Heredia
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9781526108760
- eISBN:
- 9781526124203
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526108760.003.0007
- Subject:
- Political Science, International Relations and Politics
This chapter explores how creative survival, reciprocity and solidarity allow for mitigating extractive practices and the military rule that is put in place in rural areas. These practices represent ...
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This chapter explores how creative survival, reciprocity and solidarity allow for mitigating extractive practices and the military rule that is put in place in rural areas. These practices represent forms of reappropriation, simultaneously delegitimising political order, and hence subverting it. The chapter illustrates that despite the context of violence, popular classes still aspire to improve their conditions of living in terms of political participation and economic distribution. In contrast with the last chapter, these practices have women as their protagonists, but as in the previous chapter, they are interconnected with different forms of resistance. This chapter also illustrates the pre-existing democratic configurations of order and how national and international strategies largely operate by disregarding them.Less
This chapter explores how creative survival, reciprocity and solidarity allow for mitigating extractive practices and the military rule that is put in place in rural areas. These practices represent forms of reappropriation, simultaneously delegitimising political order, and hence subverting it. The chapter illustrates that despite the context of violence, popular classes still aspire to improve their conditions of living in terms of political participation and economic distribution. In contrast with the last chapter, these practices have women as their protagonists, but as in the previous chapter, they are interconnected with different forms of resistance. This chapter also illustrates the pre-existing democratic configurations of order and how national and international strategies largely operate by disregarding them.
George Michael
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813033501
- eISBN:
- 9780813038698
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813033501.001.0001
- Subject:
- History, History of Religion
During the weekend of July 4, 1999, Benjamin “August” Smith went on a three-day rampage in Illinois and Indiana, attacking Asians, Orthodox Jews, and African Americans. He left two dead and nine ...
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During the weekend of July 4, 1999, Benjamin “August” Smith went on a three-day rampage in Illinois and Indiana, attacking Asians, Orthodox Jews, and African Americans. He left two dead and nine wounded, and then committed suicide. As a former member — conveniently resigning the day before the shootings — of the World Church of the Creator (now officially known as the Creativity Movement), Smith was praised by the leader of the church as “Creator of the Year” for bringing attention to their existence and radical beliefs. Smith's rampage was the first many Americans had heard of this small, previously obscure organization. In this history of the Creativity Movement, one of the most radical organizations in the history of the American far right, the author reminds us that some of the most dangerous radical elements in the United States are home grown.Less
During the weekend of July 4, 1999, Benjamin “August” Smith went on a three-day rampage in Illinois and Indiana, attacking Asians, Orthodox Jews, and African Americans. He left two dead and nine wounded, and then committed suicide. As a former member — conveniently resigning the day before the shootings — of the World Church of the Creator (now officially known as the Creativity Movement), Smith was praised by the leader of the church as “Creator of the Year” for bringing attention to their existence and radical beliefs. Smith's rampage was the first many Americans had heard of this small, previously obscure organization. In this history of the Creativity Movement, one of the most radical organizations in the history of the American far right, the author reminds us that some of the most dangerous radical elements in the United States are home grown.
Yannis Stavrakakis
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748619801
- eISBN:
- 9780748672073
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748619801.003.0002
- Subject:
- Political Science, Political Theory
This opening chapter aims at initiating a dialogue between Lacanian (political) theory and the social and political theory advanced by Cornelius Castoriadis. A follower of Lacan's seminar who ...
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This opening chapter aims at initiating a dialogue between Lacanian (political) theory and the social and political theory advanced by Cornelius Castoriadis. A follower of Lacan's seminar who subsequently rejected Lacanian theory, Castoriadis serves as a border figure, a frontier signpost, whose differentiation from the Lacanian corpus can help us draw a first delimitation of the terrain of the Lacanian Left. In fact, a closer look reveals a surprising proximity between the two projects on many levels. Crucially, they both seem to share a similar type of social constructionism. However, they draw quite different conclusions from this constructionism: Castoriadis stresses the importance of creativity while Lacan highlights the alienating dimension of every social construction. Furthermore, in order to safeguard a politics of radical imagination, Castoriadis ultimately disavows the alienating limits of human creation. Here, the Lacanian Left follows a differentdirection. Instead of leading to political quietism or nihilism, a serious registering of the limits of creativity – the Lacanian real as an index of the negative – should be seen as a condition of possibility for a passionate and imaginative transformative politics and for the radicalization of democracy.Less
This opening chapter aims at initiating a dialogue between Lacanian (political) theory and the social and political theory advanced by Cornelius Castoriadis. A follower of Lacan's seminar who subsequently rejected Lacanian theory, Castoriadis serves as a border figure, a frontier signpost, whose differentiation from the Lacanian corpus can help us draw a first delimitation of the terrain of the Lacanian Left. In fact, a closer look reveals a surprising proximity between the two projects on many levels. Crucially, they both seem to share a similar type of social constructionism. However, they draw quite different conclusions from this constructionism: Castoriadis stresses the importance of creativity while Lacan highlights the alienating dimension of every social construction. Furthermore, in order to safeguard a politics of radical imagination, Castoriadis ultimately disavows the alienating limits of human creation. Here, the Lacanian Left follows a differentdirection. Instead of leading to political quietism or nihilism, a serious registering of the limits of creativity – the Lacanian real as an index of the negative – should be seen as a condition of possibility for a passionate and imaginative transformative politics and for the radicalization of democracy.
Brett Mills
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748637515
- eISBN:
- 9780748671229
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748637515.003.0003
- Subject:
- Film, Television and Radio, Television
This chapter explores what it is like to work in the (primarily British) television comedy industry, and does so through analysis of a number of interviews with sitcom writers, producers and ...
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This chapter explores what it is like to work in the (primarily British) television comedy industry, and does so through analysis of a number of interviews with sitcom writers, producers and directors carried out for this book. The interviewees discuss the pleasures and problems of working in the industry and the social roles they hope their output will achieve. They also explore whether they feel their labour is a ‘job’, a ‘career’, a ‘profession’, or something else. These interviews are placed within the context of the wider television industry, and the particular roles of comedy within that industry is explored.Less
This chapter explores what it is like to work in the (primarily British) television comedy industry, and does so through analysis of a number of interviews with sitcom writers, producers and directors carried out for this book. The interviewees discuss the pleasures and problems of working in the industry and the social roles they hope their output will achieve. They also explore whether they feel their labour is a ‘job’, a ‘career’, a ‘profession’, or something else. These interviews are placed within the context of the wider television industry, and the particular roles of comedy within that industry is explored.
George Michael
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813033501
- eISBN:
- 9780813038698
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813033501.003.0002
- Subject:
- History, History of Religion
This chapter deals with the theology that Ben Klassen formulated — Creativity. Creativity did not rise in a vacuum but emerged in a political subculture that had grown increasingly disenchanted with ...
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This chapter deals with the theology that Ben Klassen formulated — Creativity. Creativity did not rise in a vacuum but emerged in a political subculture that had grown increasingly disenchanted with mainstream Christianity. Ben Klassen designated 1973 as the first year in the history of the Church of the Creator. In that year, he published Nature's Eternal Religion, which outlined his new religion — Creativity — and applied for incorporation papers to establish his church as a legally recognized religious institution. Nature's Eternal Religion advanced a thoroughgoing deconstruction of Christianity. Virtually every story in both the Old and New Testaments came under Klassen's scathing scrutiny. After deconstructing Christianity, Klassen outlined the foundation of his new religion. In a sense, he sought to create a creed that contained the functionalist features that the French sociologist Emile Durkheim saw as the underpinnings of religion — that is, beliefs and rituals that enhance solidarity in the community.Less
This chapter deals with the theology that Ben Klassen formulated — Creativity. Creativity did not rise in a vacuum but emerged in a political subculture that had grown increasingly disenchanted with mainstream Christianity. Ben Klassen designated 1973 as the first year in the history of the Church of the Creator. In that year, he published Nature's Eternal Religion, which outlined his new religion — Creativity — and applied for incorporation papers to establish his church as a legally recognized religious institution. Nature's Eternal Religion advanced a thoroughgoing deconstruction of Christianity. Virtually every story in both the Old and New Testaments came under Klassen's scathing scrutiny. After deconstructing Christianity, Klassen outlined the foundation of his new religion. In a sense, he sought to create a creed that contained the functionalist features that the French sociologist Emile Durkheim saw as the underpinnings of religion — that is, beliefs and rituals that enhance solidarity in the community.
George Michael
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813033501
- eISBN:
- 9780813038698
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813033501.003.0004
- Subject:
- History, History of Religion
After founding his church, Ben Klassen sought to promote his religion among other activists in the extreme right. This chapter details these efforts. Despite his disdain for what he saw as an ...
More
After founding his church, Ben Klassen sought to promote his religion among other activists in the extreme right. This chapter details these efforts. Despite his disdain for what he saw as an over-intellectualizing of the predicament of the white race in contemporary society, he nevertheless held some of the movement intellectuals in high esteem, most notably, William Gayley Simpson. To establish a more solid institutional basis for his religion, Klassen ordered the construction of a church in North Carolina. By the early 1980s, Klassen decided to wind down his active management in real estate to devote all of his energy to Creativity. After several years of disseminating Nature's Eternal Religion and corresponding with rightists around the country, Klassen decided that his religious movement needed a headquarters. To that end, in 1982, he established the first Creator church in North Carolina.Less
After founding his church, Ben Klassen sought to promote his religion among other activists in the extreme right. This chapter details these efforts. Despite his disdain for what he saw as an over-intellectualizing of the predicament of the white race in contemporary society, he nevertheless held some of the movement intellectuals in high esteem, most notably, William Gayley Simpson. To establish a more solid institutional basis for his religion, Klassen ordered the construction of a church in North Carolina. By the early 1980s, Klassen decided to wind down his active management in real estate to devote all of his energy to Creativity. After several years of disseminating Nature's Eternal Religion and corresponding with rightists around the country, Klassen decided that his religious movement needed a headquarters. To that end, in 1982, he established the first Creator church in North Carolina.
George Michael
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813033501
- eISBN:
- 9780813038698
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813033501.003.0005
- Subject:
- History, History of Religion
This chapter discusses the early history of the first incarnation of the Church of the Creator, which was established in North Carolina in 1982. In some ways, North Carolina was a poor choice as the ...
More
This chapter discusses the early history of the first incarnation of the Church of the Creator, which was established in North Carolina in 1982. In some ways, North Carolina was a poor choice as the Appalachian region is in the heart of the southern Bible Belt. Klassen once commented that his “fiercest and most vocal opposition came from the local little preachers of the numerous fundamental churches in the county.” A principal aim of the new church was to convert elements of the far right to Creativity. Klassen frequently emphasized the importance of “polarization” in the racialist movement. On several occasions, locals vandalized the church's property. By the late 1980s the church had experienced moderate growth. However, it attracted an inordinate number of dysfunctional personalities and this would plague the organization and contribute to its demise.Less
This chapter discusses the early history of the first incarnation of the Church of the Creator, which was established in North Carolina in 1982. In some ways, North Carolina was a poor choice as the Appalachian region is in the heart of the southern Bible Belt. Klassen once commented that his “fiercest and most vocal opposition came from the local little preachers of the numerous fundamental churches in the county.” A principal aim of the new church was to convert elements of the far right to Creativity. Klassen frequently emphasized the importance of “polarization” in the racialist movement. On several occasions, locals vandalized the church's property. By the late 1980s the church had experienced moderate growth. However, it attracted an inordinate number of dysfunctional personalities and this would plague the organization and contribute to its demise.
George Michael
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813033501
- eISBN:
- 9780813038698
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813033501.003.0006
- Subject:
- History, History of Religion
Although it experienced moderate growth, by the early 1990s the church was in disarray and nearly collapsed after the death of Ben Klassen in 1993. This chapter covers these events. In the final ...
More
Although it experienced moderate growth, by the early 1990s the church was in disarray and nearly collapsed after the death of Ben Klassen in 1993. This chapter covers these events. In the final years of his life, Klassen looked in earnest for a successor to replace him as Pontifex Maximus, the title he created to signify the leader of his church. His personal wealth attracted a number of unscrupulous individuals, who caused considerable dissension in the church. After many failures, Klassen thought he had found a suitable successor in Dr. Rick McCarty, a psychologist who practiced in Florida. Later, McCarty also faced mounting troubles aside from the death of Klassen. With Klassen's demise, the church entered a phase of rapid decline. However, a young Canadian would spread the message of Creativity to skinheads through the emerging genre of “white power” music.Less
Although it experienced moderate growth, by the early 1990s the church was in disarray and nearly collapsed after the death of Ben Klassen in 1993. This chapter covers these events. In the final years of his life, Klassen looked in earnest for a successor to replace him as Pontifex Maximus, the title he created to signify the leader of his church. His personal wealth attracted a number of unscrupulous individuals, who caused considerable dissension in the church. After many failures, Klassen thought he had found a suitable successor in Dr. Rick McCarty, a psychologist who practiced in Florida. Later, McCarty also faced mounting troubles aside from the death of Klassen. With Klassen's demise, the church entered a phase of rapid decline. However, a young Canadian would spread the message of Creativity to skinheads through the emerging genre of “white power” music.
George Michael
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813033501
- eISBN:
- 9780813038698
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813033501.003.0007
- Subject:
- History, History of Religion
Despite many setbacks, the Creativity message survived in the skinhead scene in large part because of George Burdi. George Eric Burdi, a young Canadian musician from Canada, drew inspiration from ...
More
Despite many setbacks, the Creativity message survived in the skinhead scene in large part because of George Burdi. George Eric Burdi, a young Canadian musician from Canada, drew inspiration from Creativity and formed a band called RAHOWA named after an acronym Klassen had coined that stands for RAcial HOly WAr. It is meant to be a call to arms not unlike the Arabic word jihad used by Islamic militants. With Burdi's rise to prominence in the 1990s, some observers saw in him the potential to be the seminal figure of the white nationalist movement of the decade. In order to disseminate their music, in 1993, Burdi and Mark Wilson launched their most successful enterprise — Resistance Records — a recording company that produced CDs for white power bands. At one time, Burdi saw the skinheads as the vanguard of the racialist movement. Their lack of finesse only added to their authenticity.Less
Despite many setbacks, the Creativity message survived in the skinhead scene in large part because of George Burdi. George Eric Burdi, a young Canadian musician from Canada, drew inspiration from Creativity and formed a band called RAHOWA named after an acronym Klassen had coined that stands for RAcial HOly WAr. It is meant to be a call to arms not unlike the Arabic word jihad used by Islamic militants. With Burdi's rise to prominence in the 1990s, some observers saw in him the potential to be the seminal figure of the white nationalist movement of the decade. In order to disseminate their music, in 1993, Burdi and Mark Wilson launched their most successful enterprise — Resistance Records — a recording company that produced CDs for white power bands. At one time, Burdi saw the skinheads as the vanguard of the racialist movement. Their lack of finesse only added to their authenticity.
