This is not a book that provides a new integrated theory of religious change in modern societies, but rather one that develops theoretical elements that contribute to the understanding of some contemporary religious developments. Most of the approaches in sociology of religion are prone to emphasize either processes of religious decline or of religious upswing. For example, secularization theory usually includes a couple of relevant factors--such as functional differentiation, economic affluence or social equality--in order to account for religious change. However, the result of such a theory's empirical analyses seems to be certain in advance, namely that the social relevance of religion is decreasing. In contrast, the religious market model devised by sociologists of religion in the US is inclined to detect everywhere processes of religious upsurge. Religion and Modernity: An International Comparison avoids a purely theoretically based perspective on religious changes. For this reason, Detlef Pollack and Gergely Rosta do not begin with theoretical propositions but with questions. The authors raise the question of how the social significance of religion in its various facets has changed in modern societies, and explain what factors and conditions have contributed to these changes.
This book analyses the uses of Arnold Schwarzenegger as a foreign star in Hollywood through a film philosophical, de-westernizing and sonic critical framework. It offers very close readings of the film texts, of the roles Schwarzenegger performs, and the rhetorical strategies he adopts outside his film performances to show that in spite of attempts to occupy the position of an emblematic member of the U.S. national body Schwarzenegger remains irrevocably outside as an accented migrant body continuously accumulating markers of belonging that by their very necessity attest to their insufficiency. The book’s central project is to trace back, from the uses to which a migrant star such as Schwarzenegger is put on the screen, the construction of a sense or idea of a U.S. national community through the cinema. Given that the appeal to the American myth of an immigrant nation that promises to erase difference is fundamental to the Schwarzenegger star persona, the central aim of this book is to explore the uses of his stardom as an embodiment of the promise of America and its contradictions and exclusions.
This is not a book that provides a new integrated theory of religious change in modern societies, but rather one that develops theoretical elements that contribute to the understanding of some contemporary religious developments. Most of the approaches in sociology of religion are prone to emphasize either processes of religious decline or of religious upswing. For example, secularization theory usually includes a couple of relevant factors--such as functional differentiation, economic affluence or social equality--in order to account for religious change. However, the result of such a theory's empirical analyses seems to be certain in advance, namely that the social relevance of religion is decreasing. In contrast, the religious market model devised by sociologists of religion in the US is inclined to detect everywhere processes of religious upsurge. Religion and Modernity: An International Comparison avoids a purely theoretically based perspective on religious changes. For this reason, Detlef Pollack and Gergely Rosta do not begin with theoretical propositions but with questions. The authors raise the question of how the social significance of religion in its various facets has changed in modern societies, and explain what factors and conditions have contributed to these changes.
This book analyses the uses of Arnold Schwarzenegger as a foreign star in Hollywood through a film philosophical, de-westernizing and sonic critical framework. It offers very close readings of the film texts, of the roles Schwarzenegger performs, and the rhetorical strategies he adopts outside his film performances to show that in spite of attempts to occupy the position of an emblematic member of the U.S. national body Schwarzenegger remains irrevocably outside as an accented migrant body continuously accumulating markers of belonging that by their very necessity attest to their insufficiency. The book’s central project is to trace back, from the uses to which a migrant star such as Schwarzenegger is put on the screen, the construction of a sense or idea of a U.S. national community through the cinema. Given that the appeal to the American myth of an immigrant nation that promises to erase difference is fundamental to the Schwarzenegger star persona, the central aim of this book is to explore the uses of his stardom as an embodiment of the promise of America and its contradictions and exclusions.
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