Max Weber in the thought of Edward Shils (1910–1995) and Ernest Gellner (1925–1995): the paradox of two Weberian approaches to the understanding of nations and nationalism?

This article traces the paradoxical impact of Weber's oeuvre on two major scholars of nationalism, Ernest Gellner and Edward Shils. Both these scholars died in 1995, leaving behind a rich corpus of writings on the nation and nationalism, much of which was inspired by Max Weber. The paradox is that although neither scholar accepted Weber's sceptical attitude to the concept of ‘nation’, they both used his other major concepts, such as ‘rationality’, ‘disenchantment’, ‘unintended consequences’, the ‘ethic of responsibility’ and ‘charisma’, in their very analyses of the nation and nationalism. And they both saw, each in his own way, the nation and nationalism as constitutive elements of modern societies. However, the paradox ceases being a paradox if one sees the integration, by Shils and Gellner, of concepts of the nation and of nationalism in the analysis of modernity, as a development of Weber's ideas.

Reflexive stasis, scale reversal and the myth of modern cinema

This chapter looks at three films whose Portuguese urban settings offer a privileged ground for the re-evaluation of the classical-modern-postmodern categorisation with regard to cinema. They are The State of Things (Wim Wenders, 1982), Foreign Land (Walter Salles and Daniela Thomas, 1995) and Mysteries of Lisbon (Raúl Ruiz, 2010). In them, the city is the place where characters lose their bearings, names, identities, and where vicious circles, mirrors, replicas and mise-en-abyme bring the vertiginous movement that had characterised the modernist city of 1920s cinema to a halt. Curiously, too, it is the place where so-called postmodern aesthetics finally finds an ideal home in self-ironical tales that expose the film medium’s narrative shortcomings. Intermedial devices, whether Polaroid stills or a cardboard cut-out theatre, are then resorted to in order to turn a larger-than-life reality into framed, manageable narrative miniatures. The scaled-down real, however, turns out to be a disappointing simulacrum, a memory ersatz that unveils the illusory character of cosmopolitan teleology. In my approach, I start by examining the intertwined and transnational genesis of these films that resulted in three correlated visions of the end of history and of storytelling, typical of postmodern aesthetics. I move on to consider intermedia miniaturism as an attempt to stop time within movement, an equation that inevitably brings to mind the Deleuzian movement-time binary, which I revisit in an attempt to disentangle it from the classical-modern opposition. I conclude by proposing reflexive stasis and scale reversal as the common denominator across all modern projects, hence, perhaps, a more advantageous model than modernity to signify artistic and political values.

North Sea archaeologies

North Sea Archaeologies traces the way people engaged with the North Sea from the end of the last ice age, around 10,000 BC, to the close of the Middle Ages, about AD 1500, drawing upon archaeological research from many countries, including the UK, Netherlands, Germany, Denmark, Sweden, Norway, Belgium, and France. It addresses topics which include the first interactions of people with the emerging North Sea, the origin and development of fishing, the creation of coastal landscapes, the importance of islands and archipelagos, the development of seafaring ships and their use by early seafarers and pirates, and the treatment of boats and ships at the end of their useful lives. The study offers a ‘maritime turn’ in Archaeology through the investigation of aspects of human behaviour that have been, to various extents, disregarded, overlooked, or ignored in archaeological studies of the land. The study concludes that the relationship between humans and the sea challenges the frequently invoked dichotomy between pre-modernity and modernity, since many ancient beliefs, superstitions, and practices linked to seafaring and engagement with the sea are still widespread in the modern era.

North Sea archaeologies: a maritime biography, 10,000 BC - AD 1500

North Sea Archaeologies traces the way people engaged with the North Sea from the end of the last ice age, around 10,000 BC, to the close of the Middle Ages, about AD 1500, drawing upon archaeological research from many countries, including the UK, Netherlands, Germany, Denmark, Sweden, Norway, Belgium, and France. It addresses topics which include the first interactions of people with the emerging North Sea, the origin and development of fishing, the creation of coastal landscapes, the importance of islands and archipelagos, the development of seafaring ships and their use by early seafarers and pirates, and the treatment of boats and ships at the end of their useful lives. The study offers a ‘maritime turn’ in Archaeology through the investigation of aspects of human behaviour that have been, to various extents, disregarded, overlooked, or ignored in archaeological studies of the land. The study concludes that the relationship between humans and the sea challenges the frequently invoked dichotomy between pre-modernity and modernity, since many ancient beliefs, superstitions, and practices linked to seafaring and engagement with the sea are still widespread in the modern era.

Women’s Popular Cinema in Greece: the case of Olga Malea

This thesis examines the film comedies directed by Olga Malea and released between 1997 and 2007 in Greece, in order to make a claim for the study of women’s popular cinema in Greece and beyond. Women’s popular cinema refers to films which are thematically associated with women’s cinema while operating in popular forms, such as genre. Olga Malea and her work make for a useful case study, in that they encapsulate the relationship between these two broad categories of women’s cinema and popular cinema. In addition, this thesis claims that the two categories inflect one another in interesting ways, and their intersections act as a productive framework for the analysis of women’s cinema as popular cinema, effecting a popularisation of usually marginalised themes. The introduction to this work primarily outlines the theoretical frameworks for the argument that follows, namely: women’s cinema and feminist theory; discussions around popular cinema; and considerations about authorship. The concept of national film cultures and its possible meaning in relation to Greece is also alluded to as a contextual factor. Each subsequent chapter advances the argument for women’s popular cinema through close textual analysis of the films in chronological order of their release. In particular, the analysis identifies recurrent strands and motifs in the director’s oeuvre, such as tensions between tradition and modernity, and the pervasive nature of patriarchy in informing national gender discourses. Having established the argument that women’s popular cinema is productive in popularising women’s cinema itself, the thesis concludes that, in the work of Olga Malea, its themes are conceived of, represented and perceived as prominent in the country during the period examined – and one can finally address women’s cinema as popular.

Rethinking the Russian Revolution as historical divide

This monograph is the product of a series of workshops held in the UK and the USA, the premise of which was to suggest that 1917 is the wrong departure point for a full analysis of the social and cultural particularities of the Soviet Union. Breaking away from the binary of ‘change and continuity’, however, we asked how the new and the old (tradition and modernity) came together to make the Soviet experience ‘across 1917’. Building on these workshops, we have gathered 15 scholars from America, Europe, Russia, and the Middle East to contribute to this edition. This volume examines, among other things, the social and cultural frameworks that helped determine Soviet perceptions of social duty, justice, and governance.

Categories & order systems: Claude Parent and The Serving Library intersections of architecture, art and editorial design

This paper discusses the work of Claude Parent and The Serving Library, considering the critiques generated by their intersecting of architecture, art and editorial design. Through focus on the ways in which hosting environment, architecture and forms of expanded publishing can serve to dissolve disciplinary boundaries and activities of production, spectatorship and reception, it draws on the lineage of 1960s/70s Conceptual Art in considering these practices as a means through which to escape medium specificity and spatial confinement. Relationships between actual and virtual space are then read against this broadening of aesthetic ideas and the theory of critical modernity.

Coup Coup Land : A Comparative Study of the Coups of Fiji

A thesis presented on the political history of Fiji from cession to Britain in 1874 compares and analyses the country’s four political coups. A military coup occurred in 1987 by Lt. Col Sitiveni Rabuka. Six months later he staged a self-coup. In 2000 George Speight staged an armed civilian coup or putsch, and in 2006 Commodore Frank Bainimarama, head of Fiji’s military forces, overthrew the government of Laisenia Qarase. This paper is an internal comparison of the four coups of which the aim is to examine why coups occur in Fiji. The conclusion is that the level of influence of the country’s traditional paramount chiefs is a strong causal factor in events leading to the political overthrows. Issues such as ethnicity, constitutionalism, democracy, traditionalism, and modernity make the study of the Fiji coups complex. All of the major actors involved have been present or have been somehow linked to each coup. Questions of leadership arise as do issues regarding pluralism and multiculturalism. These issues are discussed in this paper. The end result is that if the question of traditional leadership is not addressed within a democratic framework then Fiji will continue to have coups.

Mode, senmodernitet, identitet

Fashion, late modernity and identity A common discussion in the late modern era is the role that tradition plays concerning individual identity. This forms a background to our article that focuses on consumer culture and one of its characteristics – fashion. To what extent does consumer culture and fashion contribute to the undermining of traditions, and how does this affect individual identity? We discuss two interpretations of consumption in shaping individual identity: the first interpretation maintains that by consumption individuals obtain an increasing freedom of choicemaking them free from the power of tradition, and thereby responsible for their lifestyle choices. According to the second interpretation, the free choice is illusory. This choiceis strongly influenced by factors such as social class and producers’ manipulative skills. Contrasting classical social theorists with contemporary fashion theory we argue that late modern fashion is characterized by quick changes and pluralism that often stand in contrast to tradition. We further discuss the increased importance of taste and new diffusion patterns as signs of a more individualized fashion, and discuss neo-tribalism as a post-traditional kind of community.

Narration, Visualization and Mind : Movies in everyday life as a resource for utopian self-reflection

The paper is analyzing how people in late modern society characterized by de-traditionalization, use moving images as a cultural resource for the construction of meaningful subjective world views. As a theoretical concept with several dimensions, “sacralization of the self” (Woodhead & Heelas 2000: 344), is related to media theory. With a critical focus on ‘the self’, as a core aspect in contemporary media society Eric W. Rothenbuhler labels the individual self as one of “the sacred objects of modern culture” (Rothenbuhler 2006: 31).I want to emphasize the need for case studies in order to undertake a critical investigation about ‘the self’ and how consumption of fiction film is interconnected to spectator´s creation of self images, but also to understand how film engagement elicits self-reflection (Giddens 1991, Axelson 2008, Vaage 2009a). The paper make use of empirical data to illustrate and theoretically develop perspectives on how the audience uses fiction film in every-day life for the construction of the self, as well for the construction of more profound and long-lasting ideas of being part of a moral community (Brereton 2005, Jerslev 2006, Klinger 2008, Mikkola et al. 2007, Vaage 2009b). Some empirical findings support a conclusion that moving images creates a transitional space for the human mind, with the capacity of transporting the spectator from real life to fiction and back to real life again, helping the individual with an ongoing process of transforming the self, dealing with who you actually are, and who you want to become (Axelson 2008, Vaage 2009b).

Sociologin, hybriderna och den sociala verkligheten : exemplet kärnavfall

Sociology, hybrids and social reality: the case of nuclear waste The continuing technological transformation of nature means that sociology’s traditional vision of a sharp divide between nature and society is becoming ever harder to defend. Starting from Bruno Latour’s critique of modernity, and Nikolas Rose’s explorations of political power beyond the state, this article presents a framework for analysing the expanding wealth of hybrids of nature and society surrounding us today, and the problems of government they pose. These hybrids confront us with the need to rethink sociology’s conception of ‘the social’. With Latour’s help, the interplay of nature and society can be understood as subject to technical mediation, opening the way for studies of the varying arrangements through which different configurations of nature and society are produced. Rather than alternative social constructions of nature, what sociologists should be at pains to analyse and question are different programmes and strategies for bringing together natural and social forces in durable combinations. In the article, the geological disposal of nuclear waste serves as a useful example for exploring the fruitfulness of the analytical framework put forward. This complex undertaking constitutes just one component in a larger field of technoscientific endeavour that has irrevocably transformed nature while simultaneously re-making society. Addressing this case, we seek to reveal the promise of a sociology that does not bound ‘the social’ in advance, but rather makes the co-production of technology and society one of its most important objects of study.

Självet, rollerna och pågående koordinationer av mänskliga handlingar : Om att försöka se ’samhället’ som något annat än fängelse eller marionetteater

The self, roles and the ongoing coordination of human action. Trying to see ‘society’ as neither prison nor puppet theatre In the article it is argued that structural North-American role-sociology may be integrated with theories emphasizing ‘society’ as ongoing processes (f. ex. Giddens’ theory of structuration). This is possible if the concept of role is defined as a recurrence oriented to the action of others standing out as a regularity in a societal process. But this definition makes it necessary to in a fundamental way understand what kind of social being the role-actor is. This is done with the help of Hans Joas’ theory of creativity and Merleau-Pontys concept of ‘flesh’ arguing that Meads concept of the ‘I’ maybe understood as an embodied self-asserting I, which at least in reflexive modernity has the creative power to split Meads ‘me’ into a self-voiced subject-me and an other voiced object-me. The embodied I communicating with the subject-me may be viewed as that role-actor which is something else than the role played. But this kind of role-actor is making for new troubles because it is hard to understand how this kind of self is creating self-coherence by using Meads concept of ‘the generalized other’. This trouble is handled by using Alain Touraines concept of the ‘subject’ and arguing that the generalized other is dissolving in de-modernized modernity. In split modernity self-coherence may instead be created by what in the article is called the generalized subject. This concept means a kind of communicative future based evaluation, which has its base in the ‘subject’ opposing the split powers of both the instrumentality of markets and of life-worlds trying to create ‘fundamentalistic’ self-identities. This kind of self is communicative because it also must respect the other as ‘subject’. It exists only in the battle against the forces of the market or a community. It never constructs an ideal city or a higher type of individual. It creates and protects a clearing that is constantly being invaded, to use the words of the old Frenchman himself. Asa kind of test-case it is by the way in the article shown how Becks concept of individualization may be understood in a deeply social and role-sociological way.

Fundamentos para uma teoria de expectativa econômica

O Principal Objetivo deste Trabalho é Identificar Bases Plausíveis para uma Teoria de Formação de Expectativa Econômica. Argumentamos que a Incorporação de Expectativa em Qualquer Tratamento Analítico, Deve Envolver, Principalmente, Fundamentos Epistêmicos. Duas Perspectivas de Análise Foram Consideradas: a Abordagem Contextualista de Bhargava(1992) e a Tese da Modernidade Reflexiva, Desenvolvida por Anthony Giddens. Concluímos que a Expectativa Econômica Resulta do Processo de Apropriação de Conhecimento Especializado, que É, em Grande Extensão, Mediado Através da Mídia.