On Class, the Logic of Solidarity, and the Civilizing Process: Workers, Priests, and Alcohol in Dutch Shoemaking Communities, 1900–1920

1994 ◽  
Vol 18 (1) ◽  
pp. 127-152
Author(s):  
Don Kalb

There is an economic logic and a moral logic and it is futile to argue as to which we give priority since they are different expressions of the same “kernel” of human relationship.—E. P. Thompson, 1961Class is certainly a key concept of social history just as civilization is for the figurational sociology of Norbert Elias and his followers. Each of these traditions needs to come to terms with the other. Notwithstanding fundamentally divergent assumptions, interests, and styles, both traditions would gain from a closer examination of each other's concepts, subjects, and methods.

2006 ◽  
Vol 23 (2-3) ◽  
pp. 421-427 ◽  
Author(s):  
Roland Robertson

It is necessary to distinguish between civilization as a sociocultural complex on the one hand, and civilization as a process, on the other. This is illustrated by invoking the work of Norbert Elias. For Elias, the civilizing process consisted in the way in which what were, historically, constraints on human behaviour became internalized, and is a process that takes different forms in different cultures. On the other hand, at the centre of civilization as sociocultural complex was the question concerning the attributes of a human being, crystallizing as clear-cut criteria for adjudging the degree to which the people occupying a particular territory were or were not civilized. The conception of civilization as a complex has become contemporary via Huntington's ‘clash of civilizations’ thesis, and is indicative of the way in which the very word ‘civilization’ now carries with it a considerable ideological baggage. This article argues that the ideological use of civilization and the wider discourse of the war against terror involves the fusion, or conflation, of civilization as process and civilization as complex.


1970 ◽  
pp. 17
Author(s):  
Sally MacDonald

This paper is about a few objects in two museums I know. One - my last place of work - was what might be called a social history or community history museum in Croydon just outside London. The other - where I have worked for the last six months - is a museum of Egyptian archaeology in a university in central London. In most parts of Britain, archaeology and social history (in the museum context at any rate) are distinct disciplines with their own specialist groups, networks and methods. I am still trying to come to terms with very different types of objects, terminologies and ways of thinking and to work out whether there are approaches I can bring from one environment to the other. I find it challenging to juxtapose objects from the two museums- some of them separated by nearly 5 000 years - and to think about the questions and issues they raise for me now. 


2017 ◽  
Vol 5 (1) ◽  
pp. 78
Author(s):  
Aysel KAMAL ◽  
Sinem ATIS

Ahmet Hamdi Tanpinar (1901-1962) is one of the most controversial authors in the 20th century Turkish literature. Literature critics find it difficult to place him in a school of literature and thought. There are many reasons that they have caused Tanpinar to give the impression of ambiguity in his thoughts through his literary works. One of them is that he is always open to (even admires) the "other" thought to a certain age, and he considers synthesis thinking at later ages. Tanpinar states in the letter that he wrote to a young lady from Antalya that he composed the foundations of his first period aesthetics due to the contributions from western (French) writers. The influence of the western writers on him has also inspired his interest in the materialist culture of the West. In 1953 and 1959 he organized two tours to Europe in order to see places where Western thought and culture were produced. He shared his impressions that he gained in European countries in his literary works. In the literary works of Tanpinar, Europe comes out as an aesthetic object. The most dominant facts of this aesthetic are music, painting, etc. In this work, in the writings of Tanpinar about the countries that he travelled in Europe, some factors were detected like European culture, lifestyle, socio-cultural relations, art and architecture, political and social history and so on. And the effects of European countries were compared with Tanpinar’s thought and aesthetics. Keywords: Ahmet Hamdi Tanpinar, Europe, poetry, music, painting, culture, life


Philosophies ◽  
2021 ◽  
Vol 6 (1) ◽  
pp. 5
Author(s):  
S. J. Blodgett-Ford

The phenomenon and ethics of “voting” will be explored in the context of human enhancements. “Voting” will be examined for enhanced humans with moderate and extreme enhancements. Existing patterns of discrimination in voting around the globe could continue substantially “as is” for those with moderate enhancements. For extreme enhancements, voting rights could be challenged if the very humanity of the enhanced was in doubt. Humans who were not enhanced could also be disenfranchised if certain enhancements become prevalent. Voting will be examined using a theory of engagement articulated by Professor Sophie Loidolt that emphasizes the importance of legitimization and justification by “facing the appeal of the other” to determine what is “right” from a phenomenological first-person perspective. Seeking inspiration from the Universal Declaration of Human Rights (UDHR) of 1948, voting rights and responsibilities will be re-framed from a foundational working hypothesis that all enhanced and non-enhanced humans should have a right to vote directly. Representative voting will be considered as an admittedly imperfect alternative or additional option. The framework in which voting occurs, as well as the processes, temporal cadence, and role of voting, requires the participation from as diverse a group of humans as possible. Voting rights delivered by fiat to enhanced or non-enhanced humans who were excluded from participation in the design and ratification of the governance structure is not legitimate. Applying and extending Loidolt’s framework, we must recognize the urgency that demands the impossible, with openness to that universality in progress (or universality to come) that keeps being constituted from the outside.


1984 ◽  
Vol 98 (2) ◽  
pp. 98-109 ◽  
Author(s):  
J. Bruyn

AbstractFrom 1911 to 1961 Félix Chrétien, secretary to François de Dinteville II, Bishop of Auxerre in Burgundy, and from 1542 onwards a canon in that town, was thought to be the author of three remarkable paintings. Two of these were mentioned by an 18th-century local historian as passing for his work: a tripych dated 1535 on the central panel with scenes from the legend of St. Eugenia, which is now in the parish church at Varzy (Figs. 1-3, cf. Note 10), and a panel dated 1550 with the Martyrdom of St. Stephen in the ambulatory of Auxerre Cathedral. To these was added a third work, a panel dated 1537 with Moses and Aaron before Pharaoh, which is now in New York (Figs. 4-5, cf. Notes I and 3). All three works contain a portrait of François de Dinteville, who is accompanied in the Varzy triptych and the New York panel (where he figures as Aaron) by other portrait figures. In the last-named picture these include his brothers) one of whom , Jean de Dinteville, is well-known as the man who commissioned Holbein's Ambassadors in 1533. Both the Holbein and Moses and Aaron remained in the family's possession until 1787. In order to account for the striking affinity between the style of this artist and that of Netherlandish Renaissance painters, Jan van Scorel in particular, Anthony Blunt posited a common debt to Italy, assuming that the painter accompanied François de Dinteville on a mission to Rome in 1531-3 (Note 4). Charles Sterling) on the other hand, thought of Netherlandish influence on him (Note 5). In 1961 Jacques Thuillier not only stressed the Northern features in the artist's style, especially in his portraits and landscape, but also deciphered Dutch words in the text on a tablet depicted in the Varzy triptych (Fig. I) . He concluded that the artist was a Northerner himself and could not possibly have been identical with Félix Chrétien (Note 7). Thuillier's conclusion is borne out by the occurrence of two coats of arms on the church depicted in the Varzy triptych (Fig. 2), one of which is that of a Guild of St. Luke, the other that of the town of Haarlem. The artist obviously wanted it to be known that he was a master in the Haarlem guild. Unfortunately, the Haarlem guild archives provide no definite clue as to his identity. He may conceivably have been Bartholomeus Pons, a painter from Haarlem, who appears to have visited Rome and departed again before 22 June 15 18, when the Cardinal of S. Maria in Aracoeli addressed a letter of indulgence to him (without calling him a master) care of a master at 'Tornis'-possibly Tournus in Burgundy (Note 11). The name of Bartholomeus Pons is further to be found in a list of masters in the Haarlem guild (which starts in 1502, but gives no further dates, Note 12), while one Bartholomeus received a commission for painting two altarpiece wings and a predella for Egmond Abbey in 1523 - 4 (Note 13). An identification of the so-called Félix Chrétien with Batholomeus Pons must remain hypothetical, though there are a number of correspondences between the reconstructed career of the one and the fragmentary biography of the other. The painter's work seems to betray an early training in a somewhat old-fashioned Haarlem workshop, presumably around 1510. He appears to have known Raphael's work in its classical phase of about 1515 - 6 and to have been influenced mainly by the style of the cartoons for the Sistine tapestries (although later he obviously also knew the Master of the Die's engravings of the story of Psyche of about 1532, cf .Note 8). His stylistic development would seem to parallel that of Jan van Scorel, who was mainly influenced by the slightly later Raphael of the Loggie. This may explain the absence of any direct borrowings from Scorel' work. It would also mean that a more or less Renaissance style of painting was already being practised in Haarlem before Scorel's arrival there in 1527. Thuillier added to the artist's oeuvre a panel dated 1537 in Frankfurt- with the intriguing scene of wine barrels being lowered into a cellar - which seems almost too sophisticated to be attributed to the same hand as the works in Varzy and New York, although it does appear to come from the same workshop (Fig. 6, Note 21). A portrait of a man, now in the Louvre, was identified in 197 1 as a fragment of a work by the so-called Félix Chrétien himself (Fig. 8, Note 22). The Martyrdom of St. Stephen of 1550 was rejected by Thuillier because of its barren composition and coarse execution. Yet it seems to have too much in common with the other works to be totally separated, from them and may be taken as evidence that the workshop was still active at Auxerre in 1550.


1988 ◽  
Vol 108 ◽  
pp. 198-203 ◽  
Author(s):  
Robert B. Strassler

Thucydides' full description of the harbor at Pylos is part of his discussion of the Spartan strategy for the campaign (iv 8).. . . and the Lacedaimonians . . . expected the Attic fleet from Zacynthos to come to the rescue and intended, if they had not captured Pylos by that time, to block up the entrances to the harbor, so that the Athenians could not sail in and use it as an anchorage. (The island called Sphacteria extends alongside the harbor, and lies close to it: hence the anchorage is safe and the entrances narrow–the entrance by Pylos and the Athenian fortifications giving a passage for two ships through the channel, and the entrance by the mainland on the other side a passage for eight or nine . . . ) These entrances then, they intended to block up tightly with ships lying parallel to each other, prows to the enemy: and since they were frightened that the Athenians might use Sphacteria as a military base, they ferried hoplites across to it, and stationed others along the mainland. By this plan, they thought, the Athenians would find both the island to be enemy-occupied and the mainland, which gave them no chance of landing (for the coast of Pylos itself, outside the entrance and towards the open sea, is harborless, and would give them no base of operations to help their troops): and equally they themselves would probably be able to capture the place by siege, without a sea-battle or any unnecessary danger–there was no food in it, and it had not been properly prepared for a siege. This, then, was their agreed plan . . .Although one would think this a clear and detailed geographic description, historians have not yet found a location at Pylos for the harbor which satisfactorily matches it.


Author(s):  
Lita Lundquist

AbstractThe specificities of national humor are often mentioned in humor research, but seldom explained in depth. This article concerns two studies, which reveal that Danish humor (as used in professional settings) is judged by Danes and non-Danes alike as ironic, self-ironic, sarcastic, and direct, with no limits or taboos. These characteristics of Danish humor are analyzed here using two different theoretical frameworks: linguistics – where an explanation is found in certain type-specific features of the Danish language, namely the dialogical particles typical of the Nordic languages in general – and the historico-sociological approach proposed by Norbert Elias. According to Elias, the mentality of a people has been molded through an ongoing historical process of civilization. The civilizing process specific to Danish society has engendered a “campfire mentality”, leading up to the egalitarian, consensual welfare state. Work relationships in Denmark are based on a horizontal, flat structure with low power distance, a structure for which management researchers actually recommend the use of humor, irony and self-irony. Finally, the specificities of Danish humor are linked to a low degree of gelotophobia, the fear of being laughed at, among Danes.


PMLA ◽  
1937 ◽  
Vol 52 (4) ◽  
pp. 1183-1190
Author(s):  
George W. Whiting

To the student of writing and literature few inquiries are more interesting and valuable than that into an author's practices in revising his own work. To observe the various stages in the evolution of the final version, to note carefully an artist at his work of pruning the dead wood, adding fresh material, smoothing away harsh phrases, selecting just words, and letting light into obscure places—to do this is to come somewhat nearer to an understanding of what in spite of all analysis will remain essentially a mystery. Especially fascinating and instructive is the study of Conrad's revision, for here one sees a supreme artist at work. In his vigorous hewing and rebuilding there is conclusive proof of the artist's untiring industry and consummate skill. Conrad's revision of Nostromo is of particular interest, for this novel occupies a critical place in the evolution of Conrad's prose. Mr. Richard Curie has justly characterized the change that came over Conrad's prose—a change perceptible in the “Amy Foster” of Typhoon and fully marked in from Under Western Eyes onward. This evolution has smoothed away the cadence, has concentrated the manner, has toned down the style of Conrad's former exuberance. At first glance the later and the earlier Conrad appear two totally different men. The unruly splendor of the one has given way to the subtle and elastic suavity of the other … His earlier prose is sometimes uncertain, sometimes exaggerated, but his later prose has the uniform temper of absolute mastery.


Author(s):  
Anna Frīdenberga ◽  

In the article, the verb gādāt, an entry for the Historical Dictionary of Latvian (16th–17th centuries), and other formatives with this word are discussed. In the early Latvian texts, a wide and forked word-formation nest forms around the verb gādāt, including, for example, derived words gādāties, negādāt, gādāšana, apgādāt, apgādāties, apgādāšana, atsagādāties, iesagādāties, atgādāt, atgādāties, atgādāšana, atgādināt, iegādāties, sagādāt, sagāds, gāds, gādība, etc. There are several meanings of the word gādāt in early texts, which differ from the ones used nowadays, so the authors of the Dictionary have distinguished three of them: 1) to aim, seek, strive (for something); 2) to take care, to look after; 3) to be concerned, to worry (about). The word gādāt also had a more ancient meaning, ‘to think’, from which these three meanings have developed. Though in early religious texts the meaning ‘to think’ is not common, it appears in some prefixal verbs, for example, apgādāt ‘to consider’, iesagādāties ‘to come to one’s mind’, atgādāt ‘to recall, to remember’, sagādāt ‘to consider, to think’, iegādāt ‘to remember, to recall’. The meanings of the basic word also widely fork in the meanings of the words derived from it. One group of meanings is connected with the ancient meaning of the word gādāt ‘to think’. It is dominant, for example, in such word-formation chain as atgādāt, atgādināt, atgādāšana, etc., while the other group is connected to the meaning ‘to care, to look after’. The last is more common nowadays, so the words gādāt, apgādāt, sagādāt, gādība, etc. are known with this meaning also in modern Latvian. In the texts of the 16th–17th centuries, reflexive verbs are often used; an interesting feature characteristic to these verbs – the reflexive verb is often used in the same meaning as the direct verb. For example, gādāt and gādāties, iegādāt and iegādāties, atgādāt and atgādāties.


Author(s):  
Todor Dyankov ◽  

The generl goal of this research study is to rethink the marketing opportunities to manage the customer experience with the tourism brand based on some world-renowned marketing innovations in tourism. The ongoing global pandemic crisis poses challenges to the future successful development of tourism and in particular tourism brands. The revival of the tourist brand is based on the inevitable process of total digitalization of business and market processes on one hand, but on the other hand the living human contact with the brand is becoming more and more demanding. Overcoming travel fears is in alignment with the restoration of the customer trust in the tourist brand. The transformation of tourism brand is still to come and the key to a successful completion is the new way of managing the customer experience.


Sign in / Sign up

Export Citation Format

Share Document