This book explores examples of this process of invention and addresses the complex interaction of past and present in a fascinating study of ritual and symbolism.
Almost forty years after the publication of Hobsbawm and Ranger’s The Invention of Tradition, the subject of invented traditions—cultural and historical practices that claim a continuity with a distant past but which are in fact of relatively recent origin—is still relevant, important, and highly contentious. Invented Traditions in North and South Korea examines the ways in which compressed modernity, Cold War conflict, and ideological opposition has impacted the revival of traditional forms in both Koreas. The volume is divided thematically into sections covering: (1) history, religions, (2) language, (3) music, food, crafts, and finally, (4) space. It includes chapters on pseudo-histories, new religions, linguistic politeness, literary Chinese, p’ansori, heritage, North Korean food, architecture, and the invention of children’s pilgrimages in the DPRK. As the first comparative study of invented traditions in North and South Korea, the book takes the reader on a journey through Korea’s epic twentieth century, examining the revival of culture in the context of colonialism, decolonization, national division, dictatorship, and modernization. The book investigates what it describes as “monumental” invented traditions formulated to maintain order, loyalty, and national identity during periods of political upheaval as well as cultural revivals less explicitly connected to political power. Invented Traditions in North and South Korea demonstrates that invented traditions can teach us a great deal about the twentieth-century political and cultural trajectories of the two Koreas. With contributions from historians, sociologists, folklorists, scholars of performance, and anthropologists, this volume will prove invaluable to Koreanists, as well as teachers and students of Korean and Asian studies undergraduate courses.
This book explores manifestations of creativity in the religious domain. Specifically, the contributions focus on the nexus of the sacred and the creative, and the mechanisms of syncretism and (re)invention of tradition by which this manifestations occur. The text is divided into two sections. In the first, empirical cases of spirituality characterized by syncretistic processes are highlighted; in the second, examples which can be traced back to forms of the (re)invention of tradition are examined. The authors document possible forms of adaptations and religious enculturation. In the second, the authors demonstrate that spiritual traditions, whether ancient or historically fictitious, are suitable for reframing in the context of critical interpretative frameworks related to cultural expectations which challenge them and call their continuity into question.
This collection of essays challenges the notion that Japan's present cultural identity is the simple legacy of its pre-modern and insular past. Scholars examine "age-old" Japanese cultural practices and show these to be largely creations of the modern era.
Contemporary society has seen an unprecedented rise in both the demand and the desire to be creative, to bring something new into the world. Once the reserve of artistic subcultures, creativity has now become a universal model for culture and an imperative in many parts of society. In this new book, cultural sociologist Andreas Reckwitz investigates how the ideal of creativity has grown into a major social force, from the art of the avant-garde and postmodernism to the ‘creative industries’ and the innovation economy, the psychology of creativity and self-growth, the media representation of creative stars, and the urban design of ‘creative cities’. Where creativity is often assumed to be a force for good, Reckwitz looks critically at how this imperative has developed from the 1970s to the present day. Though we may well perceive creativity as the realization of some natural and innate potential within us, it has rather to be understood within the structures of a very specific culture of the new in late modern society. The Invention of Creativity is a bold and refreshing counter to conventional wisdom that shows how our age is defined by radical and restrictive processes of social aestheticization. It will be of great interest to those working in a variety of disciplines, from cultural and social theory to art history and aesthetics.
This book takes as its theme the ways in which governments legitimate their rule, both to themselves and to their subjects. Its introduction explores legitimacy and pre-colonial states, but the three sections of the book deal with colonial legitimacy, the question of legitimation in the transition from colonialism to majority rule, and the contemporary debate about accountability.
Examining the recent radical re-invention of monastic tradition in the everyday life of New Monastic Communities, Palmisano considers how new Catholic communities are renewing monastic life by emphasizing the most innovative and disruptive theological aspects which they identify in the Council. Despite freely adopting and adapting their Rule of Life, the new communities do not belong to pre-existing orders or congregations. Offering unique sociological insights into New Monastic Communities, the book asks what 'monastic' means today and whether these communities can still be described as such.
Based on hundreds of primary sources in a wide range of languages, this book offers a reevaluation of Romanian images of self and other, as well as of foreign images of the country and people. A nuanced and historically-grounded contribution to the lively debates over Balkanism, Orientalism and identities in Romania and in Europe as a whole.
A thought-provoking, elegantly crafted collection of essays by one of architecture's most influential figures Among practicing architects today, perhaps only Robert A. M. Stern once contemplated a career as a historian, an interest that has informed both his built work and his writings. Tradition and Invention in Architecture brings together 26 of Stern's essays and conversations from the past five decades. Topics range from modern classicism, American housing, gardens, and New York City to the work of Norman Foster, Louis Kahn, Charles Moore, and Robert Moses. Reminders of Stern's own broad career in architecture are found in his thoughts on his PBS television series Pride of Place, his discussion of the planning of Seaside and Celebration, Florida, and his view on institutional branding through architecture. Known as much for his candor as for his profound knowledge of American architecture, Stern's observations on the architecture of his time are equally valuable. As he writes, "For an architect, writing is one way of reconsidering history while working in the present--always in search of the best from the past and the present, which allows us to invent for the future."