Ringed by high mountains crossed by a series of rulers over the centuries, Kosovo boasts Ottoman mosques, Tito-esque administration buildings, Serbian Orthodox churches, monasteries, vineyards and extravagant KLA war memorials. This title is suitable for visitors from the country's diaspora.
Ad Reinhardt is probably best known for his black paintings, which aroused as much controversy as admiration in the American art world when they were first exhibited in the 1950s. Although his ideas about art and life were often at odds with those of his contemporaries, they prefigured the ascendance of minimalism. Reinhardt's interest in the Orient and in religion, his strong convictions about the value of abstraction, and his disgust with the commercialism of the art world are as fresh and valid today as they were when he first expressed them.
Sinceits founding by Jacques Waardenburg in 1971, Religion and Reason has been a leading forum for contributions on theories, theoretical issues and agendas related to the phenomenon and the study of religion. Topics include (among others) category formation, comparison, ethnophilosophy, hermeneutics, methodology, myth, phenomenology, philosophy of science, scientific atheism, structuralism, and theories of religion. From time to time the series publishes volumes that map the state of the art and the history of the discipline.
Why We Eat, How We Eat maps new terrains in thinking about relations between bodies and foods. With the central premise that food is both symbolic and material, the volume explores the intersections of current critical debates regarding how individuals eat and why they eat. Through a wide-ranging series of case studies it examines how foods and bodies both haphazardly encounter, and actively engage with, one another in ways that are simultaneously material, social, and political. The aim and uniqueness of this volume is therefore the creation of a multidisciplinary dialogue through which to produce new understandings of these encounters that may be invisible to more established paradigms. In so doing, Why We Eat, How We Eat concomitantly employs eating as a tool - a novel way of looking - while also drawing attention to the term 'eating' itself, and to the multiple ways in which it can be constituted. The volume asks what eating is - what it performs and silences, what it produces and destroys, and what it makes present and absent. It thereby traces the webs of relations and multiple scales in which eating bodies are entangled; in diverse and innovative ways, contributors demonstrate that eating draws into relationships people, places and objects that may never tangibly meet, and show how these relations are made and unmade with every mouthful. By illuminating these contemporary encounters, Why We Eat, How We Eat offers an empirically grounded richness that extends previous approaches to foods and bodies.