"An American anthropologist, Jennie Keith . . . went to live for twelve months in a French housing scheme for retired people and as a participant observer conducted a study in community creation. This book, in which she describes and analyses her experience, is a delight. It is scholarly and draws on a wide range of studies of similar residences and other collectives; it is also vivid, funny, sad and entertaining."—Marie Borland, British Journal of Social Work
One of the foremost religious and social philosophers of the twentieth century, Martin Buber also wrote extensively on sociological subjects, particularly as these affected his philosophical concerns. Collected here, these writings offer essential insights into the human condition as it is expressed in culture and society.
Buber's central focus in his sociological work is the relation between social interaction, or intersubjectivity, and the process of human creativity. Specifically, Buber seeks to define the nature and conditions of creativity, the conditions of authentic intersubjective social relations that nurture creativity in society and culture. He attempts to identify situations favorable to creativity that he believes exist to some extent in all cultures, though their fullest development occurs only rarely.
Buber considers the combination of open dialogue between human and human and a dialogue between man and God to be necessary for the crystallization of the common discourse that is essential for holding a free, just, and open society together.
Important for an understanding of Buber's thought, these writings—touching on education, religion, the state, and charismatic leadership—will be of profound value to students of sociology, philosophy, and religion.
In these dynamic essays, thirteen wise women review their lives for meaning and purpose, striving to integrate both head and heart. They consider how their spiritual paradigms have shaped their vocations as teachers, scholars, guides, mentors, and advocates and how these roles have been integral to their life’s work, not merely to their work life. With courageous and insightful testimonies they narrate the intersecting relationships of work, family, students, patients, and colleagues, weaving them together rather than compartmentalizing them. Challenges inside and outside the academy and other professional settings are revealed, to tell of suffering and transformation, to tally hard-earned life lessons and to share wisdom achieved.
Lives and words are gathered and generously shared, allowing these women to make sense of their own lives while mentoring a wider circle of younger and older readers alike. These “travel tales” of journeys through knowledge and self-knowledge will inform, challenge, surprise, entertain, and inspire.
Only Among Women examines idealized relationships between women in Russian literature and culture from the age of the classic Russian novel to socialist realism and Stalinist film. It reveals how the idea of a community of women—a social sphere ostensibly free from the taint of money, sex, or self-interest—originates in the classic Russian novel, fuels mystical notions of unity in turn-of-the-century modernism, and finally assumes a place of privilege in Stalinist culture, especially cinema.
Rethinking the significance and surprising continuities of gender in Russian and Soviet culture, Eakin Moss relates this tradition to Western philosophies of community developed by thinkers from Jean-Jacques Rousseau to Jean-Luc Nancy. She shows that in the 1860s friendship among women came to figure as an organic national collectivity in works such as Tolstoy’s War and Peace and a model for revolutionary organization in Chernyshevsky’s What Is To Be Done?.
Only Among Women also traces how women’s community came to be connected with new religious and philosophical notions of a unity transcending the individual at the fin-de-siècle. Finally, in Stalinist propaganda of the 1930s, the notion of women’s community inherited from the Russian novel reemerged in the image of harmonious female workers serving as a patriarchal model for loyal Communist citizenship.
Nurses, show girls, housewives, farm workers, casino managers, and government inspectors—together these hard-working members of society contributed to the development of towns across the West. The essays in this volume show how oral history increases understanding of work and community in the twentieth century American West.
In many cases occupations brought people together in myriad ways. The Latino workers who picked lemons together in Southern California report that it was baseball and Cinco de Mayo Queen contests that united them. Mormons in Fort Collins, Colorado, say that building a church together bonded them together. In separate essays, African Americans and women describe how they fostered a sense of community in Las Vegas. Native Americans detail the “Indian economy” in Northern California.
As these essays demonstrate, the history of the American West is the story of small towns and big cities, places both isolated and heavily populated. It includes groups whose history has often been neglected. Sometimes, western history has mirrored the history of the nation; at other times, it has diverged in unique ways. Oral history adds a dimension that has often been missing in writing a comprehensive history of the West. Here an array of oral historians—including folklorists, librarians, and public historians—record what they have learned from people who have, in their own ways, made history.
The award-winning American environmental writer Barry Lopez has traveled extensively in remote and populated parts of the world. Lopez’s fiction and nonfiction focus on the relationship between the physical landscape and human culture, posing abiding questions about ethics, intimacy, and place.
Other Country presents a full-scale treatment of Lopez’s work. James Perrin Warren examines the relationship between Lopez’s writing and the work of several contemporary artists, composers, and musicians, whose works range from landscape photography, painting, and graphic arts to earth art, ceramics, and avant-garde music. The author demonstrates Lopez’s role in creating this community of artists who have led cultural change, and shows that Lopez’s writing—and his engagement with the natural world—creates an “other country” by redefining boundaries, rediscovering a place, and renewing our perceptions of landscapes.
Warren’s critique examines manuscripts and typescripts from the 1960s to the present, interviews with Lopez conducted from 2008 to 2013, and interviews with artists. Part 1 focuses on the relationship between Lopez’s storytelling, which he calls “a conversation with the land,” and Robert Adams’s landscape photography. For both Lopez and Adams, a worthy artistic expression serves the cultural memory of a community, reminding us how to behave properly toward other people and the land. Part 2 looks at the collaborative friendship of Lopez and visual artist Alan Magee, tracking the development of Lopez’s short stories through a consideration of Magee’s career. Part 3 moves farther afield, discussing Lopez’s relationship to Richard Long’s earth art, Richard Rowland’s ceramics, and John Luther Adams’s soundscapes.
Other Country reveals the dynamic relationships between Lopez, considered by many the most important environmental writer working in America, and the artistic community, who seek to explore the spiritual and ethical dimensions of an honorable and attentive relationship to the land and thus offer profound implications for the future of the planet.