Imagined communities: Reflections on the origin and spread of nationalism

Part I. Understanding Secularization: 1. The secularization debate 2. Measuring secularization 3. Comparing secularization worldwide Part II. Case Studies of Religion and Politics: 4. The puzzle of secularization in the United States and Western Europe 5. A religious revival in post-communist Europe? 6. Religion and politics in the Muslim world Part III. The Consequences of Secularization: 7. Religion, the Protestant ethic, and moral values 8. Religious organizations and social capital 9. Religious parties and electoral behavior Part IV. Conclusions: 10. Secularization and its consequences 11. Re-examining the theory of existential security 12. Re-examining evidence for the security thesis.

/pdf/sacred-and-secular-religion-and-politics-worldwide-4cxl4gjg3t.pdf

Sacred and Secular: Religion and Politics Worldwide

Two processes at work in contemporary society are the secularization of religion and the sacralization of the secular. Consumer behavior shapes and reflects these processes. For many, consumption has become a vehicle for experiencing the sacred. This article explores the ritual substratum of consumption and describes properties and manifestations of the sacred inherent in consumer behavior. Similarly, the processes by which consumers sacralize and desacralize dimensions of their experience are described. The naturalistic inquiry approach driving the insights in this article is advanced as a corrective to a premature narrowing of focus in consumer research.

The Sacred and the Profane in Consumer Behavior: Theodicy on the Odyssey

This essay sets forth a theoretical rationale for a critical rhetoric and presents eight “principles”; which, taken together, orient the critic toward the act of criticism The theoretical rationale encompasses two forms of critique, styled as a critique of domination and as a critique of freedom Both have in common an analysis of the discourse of power as it serves in the first case to maintain the privilege of the elite and, in the second, to maintain social relations across a broad spectrum of human activities The principles articulate an orientation that sees critique as a transformative practice rather than as a method, recognizes the materiality of discourse, reconceptualizes rhetoric as doxastic as contrasted to epistemic, and as nominalistic as contrasted to universalistic, captures rhetoric as “influential"as contrasted to “causal,”; recognizes the importance of absence as well as presence, perceives the potential for polysemic as opposed to monosemic interpretation, and as an activity that is 

Critical rhetoric: Theory and praxis

Edwardsville are not liable for any legal actions that may arise involving the article's content, including but not limited to, copyright infringement.

/pdf/action-criticism-and-theory-for-music-education-4gbuv2qcjh.pdf

Action, Criticism and Theory for Music Education

With "The Invention of Art", Larry Shiner challenges our conventional understandings of art and asks us to reconsider its history entirely, arguing that the category of fine art is a modern invention - that the lines drawn between art and craft resulted from key social transformations in Europe during the long 18th century.

The Invention of Art: A Cultural History

In both empirical research and interpretation today there is a total lack of agreement as to what secularization is and how to measure it. The present pap er tries to bring the concept of secularization into focus by considering 1) the history of the term, 2) six types of usage today and their application in selected examples of research, 3) a critique of these forms of secularization concept as analytical tools, and 4) a critique of the secular-religious polarity. It is concluded that the term secularization, because of its polemical past, its extremely varied definitions, and its frequent use as a blanket term to cover several disparate processes, should either be abandoned or be explicitly recognized as a comprehensive term covering three complementary but distinct processes, desacralization, differentiation and transposition.

The concept of secularization in empirical research

Over the last decades, a number of writers have exposed the complex ideology behind our construction of a largely imaginary Primitive Other upon whom we have projected either our fantasies of savagery and sexual license or an idealized vision of an unspoiled humanity.' Traditional treatments of Primitive Art have always been a part of this ambivalent discourse of the "primitive," and the best recent discussions of the concept of Primitive Art (Clifford, Price, Torgovnick) are acutely critical of it.2 But if recent writers have mercilessly at

Primitive Fakes, Tourist Art, and The Ideology of Authenticity

Art world talk of “blurred boundaries” and “hybrids” between art and craft, suggests that the philosophy of art needs to rethink the concept of craft. This can best be done by adopting four strategies: first, distinguish between craft as a set of disciplines, and craft as a process and practice; second, keep in mind the differences among craft practices such as studio, trade, ethnic, amateur, and DIY; third, recognize that craft’s relationship with design is as important as its relationship to art; fourth, attend to the role digital design and fabrication are playing in craft and art today. At the core of the craft process are three contested characteristics found in most craft practices: hand, material, and skill, although these are better understood as body, medium, and mastery. After discussing a fourth contested characteristic of many craft and design practices, function, I show that none of the four characteristics is a requisite condition for artistic practice today, yet none are excluded from contemporary (fine) art, despite its current “post-studio” or “post-disciplinary” tendencies. I conclude that the boundary between art and craft conceived as a set of disciplines defined by materials and techniques has not become blurred, it has all but disappeared. On the other hand, I show through an analysis of some references to “mere craft” by Stephen Davies and Arthur Danto, that craft conceived as a process and practice can be understood as distinct from art, but in a non-invidious sense.

“Blurred Boundaries”? Rethinking the Concept of Craft and its Relation to Art and Design

Art Scents: Perfume, Design and Olfactory Art

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