This book is a history of European interpretations of the gift from the mid-seventeenth to the early twentieth century. Reciprocal gift exchange, pervasive in traditional European society, disappeared from the discourse of nineteenth-century social theory only to return as a major theme in twentieth-century anthropology, sociology, history, philosophy and literary studies. Modern anthropologists encountered gift exchange in Oceania and the Pacific Northwest and returned the idea to European social thought; Marcel Mauss synthesized their insights with his own readings from remote times and places in his famous 1925 essay on the gift, the starting-point for subsequent discussion. The Return of the Gift demonstrates how European intellectual history can gain fresh significance from global contexts.
An unforgettable voyage filled with delightful characters, dramatic encounters, and rich cultural details, The Travelers' World heralds a moment of intellectual preparation for the modern global era. Harry Liebersohn examines the transformation of global knowledge during the great age of scientific exploration. We now travel effortlessly to distant places, but the questions about perception, truth, and knowledge that these intercontinental mediators faced still resonate.
An unforgettable voyage filled with delightful characters, dramatic encounters, and rich cultural details, The Travelers' World heralds a moment of intellectual preparation for the modern global era. Harry Liebersohn examines the transformation of global knowledge during the great age of scientific exploration. We now travel effortlessly to distant places, but the questions about perception, truth, and knowledge that these intercontinental mediators faced still resonate.
Fate and Utopia in German Sociology provides a lucid introduction to a major sociological tradition in Western thought. It is an intellectual history of five scholars—Ferdinand Tönnies, Ernst Troeltsch, Max Weber, Georg Simmel, and Georg Lukács—who created modern German sociology over the course of fifty years, from 1870 to 1923. Liebersohn portrays his subjects as thinkers who were deeply immersed in the politics and poetry of their time, and whose sociology benefited in unexpected ways from sources as diverse as medieval mysticism and Nietzsche's Birth of Tragedy. He maps out their shared sociological discourse, shaped in response to the fragmentation they perceived in public life, in education and the arts, and in Protestant religious life. German sociology has generally been interpreted as having a tragic perspective on modern society (as implied by the pervasive idiom of "fate"); Liebersohn argues that this sense of fate was matched by an underlying utopian hope for an end to fragmentation, rooted for all of his subjects in the Lutheran idea of community.The book's five biographical chapters are structured to discuss ideas of community, society, and personality in the work of the individual discussed, while there is a general movement among the chapters from community to society to socialism. Many specific texts are discussed, and the overall orientation is one of intellectual history rather than sociological analysis.
Music listeners today can effortlessly flip from K-pop to Ravi Shankar to Amadou & Mariam with a few quick clicks of a mouse. While contemporary globalized musical culture has become ubiquitous and unremarkable, its fascinating origins long predate the internet era. In Music and the New Global Culture, Harry Liebersohn traces the origins of global music to a handful of critical transformations that took place between the mid-nineteenth and early twentieth century. In Britain, the arts and crafts movement inspired a fascination with non-Western music; Germany fostered a scholarly approach to global musical comparison, creating the field we now call ethnomusicology; and the United States provided the technological foundation for the dissemination of a diverse spectrum of musical cultures by launching the phonograph industry. This is not just a story of Western innovation, however: Liebersohn shows musical responses to globalization in diverse areas that include the major metropolises of India and China and remote settlements in South America and the Arctic. By tracing this long history of world music, Liebersohn shows how global movement has forever changed how we hear music—and indeed, how we feel about the world around us.
This book is a history of European interpretations of the gift from the mid-seventeenth to the early twentieth century. Reciprocal gift exchange, pervasive in traditional European society, disappeared from the discourse of nineteenth-century social theory only to return as a major theme in twentieth-century anthropology, sociology, history, philosophy and literary studies. Modern anthropologists encountered gift exchange in Oceania and the Pacific Northwest and returned the idea to European social thought; Marcel Mauss synthesized their insights with his own readings from remote times and places in his famous 1925 essay on the gift, the starting-point for subsequent discussion. The Return of the Gift demonstrates how European intellectual history can gain fresh significance from global contexts.
The journalist and critic Siegfried Kracauer is best remembered today for his investigations of film and other popular media, and for his seminal influence on Frankfurt School thinkers like Theodor Adorno. Less well known is his earlier work, which offered a seismographic reading of cultural fault lines in Weimar-era Germany, with an eye to the confrontation between religious revival and secular modernity. In this discerning study, historian Harry T. Craver reconstructs and richly contextualizes Kracauer’s early output, showing how he embodied the contradictions of modernity and identified the quasi-theological impulses underlying the cultural ferment of the 1920s.
States that the critical theory of the Frankfurt School is as important today, if not more so, as it was at its inception during the 1930s. This title looks at the distinguishing features of this tradition and how it is critical, yet also complementary, of other approaches in the social sciences, especially in sociology.
Fate and Utopia in German Sociology provides a lucid introduction to a major sociological tradition in Western thought. It is an intellectual history of five scholars—Ferdinand Tönnies, Ernst Troeltsch, Max Weber, Georg Simmel, and Georg Lukács—who created modern German sociology over the course of fifty years, from 1870 to 1923. Liebersohn portrays his subjects as thinkers who were deeply immersed in the politics and poetry of their time, and whose sociology benefited in unexpected ways from sources as diverse as medieval mysticism and Nietzsche's Birth of Tragedy. He maps out their shared sociological discourse, shaped in response to the fragmentation they perceived in public life, in education and the arts, and in Protestant religious life. German sociology has generally been interpreted as having a tragic perspective on modern society (as implied by the pervasive idiom of "fate"); Liebersohn argues that this sense of fate was matched by an underlying utopian hope for an end to fragmentation, rooted for all of his subjects in the Lutheran idea of community.The book's five biographical chapters are structured to discuss ideas of community, society, and personality in the work of the individual discussed, while there is a general movement among the chapters from community to society to socialism. Many specific texts are discussed, and the overall orientation is one of intellectual history rather than sociological analysis.
Music listeners today can effortlessly flip from K-pop to Ravi Shankar to Amadou & Mariam with a few quick clicks of a mouse. While contemporary globalized musical culture has become ubiquitous and unremarkable, its fascinating origins long predate the internet era. In Music and the New Global Culture, Harry Liebersohn traces the origins of global music to a handful of critical transformations that took place between the mid-nineteenth and early twentieth century. In Britain, the arts and crafts movement inspired a fascination with non-Western music; Germany fostered a scholarly approach to global musical comparison, creating the field we now call ethnomusicology; and the United States provided the technological foundation for the dissemination of a diverse spectrum of musical cultures by launching the phonograph industry. This is not just a story of Western innovation, however: Liebersohn shows musical responses to globalization in diverse areas that include the major metropolises of India and China and remote settlements in South America and the Arctic. By tracing this long history of world music, Liebersohn shows how global movement has forever changed how we hear music—and indeed, how we feel about the world around us.
This collection of memoirs by refugees from Nazi Germany is a rich source of autobiographical information on the Nazi era. Housed at Houghton Library of Harvard University, it consists of 263 files containing the memoirs of approximately 230 people who lived in Germany or Austria during the 1930s. The stories of the memoirists encompass an almost bewildering range of human experience. The authors come from Danzig and Berlin, from central Germany and the Southwest, from Munich and from Vienna. They are Jews and Catholics and Protestants, and mixtures of these all-too-neat categories in their origins and marriages. They are peddlers and professors, machinists and lawyers, private housewives and public activists. They are conservatives and liberals and Communists. The strongest common bond was their exile.
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