By Jeffrey C. Alexander
Performativity has emerged as a serious new concept around the humanities and social sciences, from literary and cultural stories to the examine of gender and the philosophy of motion. during this quantity, Jeffrey Alexander demonstrates how functionality can reorient our research of politics and society.
Alexander develops a cultural pragmatics that shifts cultural sociology from texts to gestural meanings. Positioning social functionality among ritual and process, he lays out the weather of social functionality - from scripts to mise-en-scène, from serious mediation to viewers reception - and systematically describes their stressful interrelation. this can be through a chain of empirically orientated experiences that reveal how cultural pragmatics transforms our method of power.
Alexander brings his new conception of social functionality to undergo on case reviews that variety from political to cultural strength: Barack Obama's electoral crusade, American failure in the Iraqi struggle, the triumph of the Civil Rights circulate, terrorist violence on September eleventh, public intellectuals, fabric icons, and social technological know-how itself.
This path-breaking paintings by way of one of many world's prime social theorists will command a large interdisciplinary readership.
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Extra info for Performance and Power
Rituals in early societies, I wish to suggest, were not so much practices as performances, and in this they indeed are made of the same stuff as social actions in more complex societies. ” Actually, this statement must be reversed. All ritual has at its core a performative act. This is not to deny the differences between rituals and performances of a less affecting kind. What it does suggest, however, is that they exist on the same continuum and that the difference between them is a matter of variation, not fundamental type.
One must not generalize from empirical examples of resistance to a full-blown, purely pragmatic and cognitivist view of the world. Whether Marxist or Heideggerian, conservative or postmodern, Turnerian or Goffmanian, this line of dramaturgical thinking – while enormously instructive – has placed blinders on dramaturgical theory and cultural social science. To develop a satisfying theory of cultural practice, we must separate ourselves from both nostalgia and antinostalgia. Not only disenchantment but re-enchantment characterizes post-traditional societies (Bauman 1993; Sherwood 1994).
With sacred texts tied to mundane society, actors’ roles tied to social roles, performance directly expressing symbolic text and social life, obligatory participation, and homogeneous and attentive audiences, it is hardly surprising that the effects of ritual performances tend to be immediate and only infrequently depart from the expectations of actors and scripts (see also Schechner 1976: 205, 1981: 92–4). As Levi-Strauss attested (1963: 168, italics added), “There is . . ” Rites not only mark transitions but also create them, such that the participants become something or somebody else as a result.