While the history of Israel during the period from ca. 1200 to 586 B.C.E. has been in the forefront of biblical research, little attention has been given to questions of daily life. Where did the Israelites live? What did people do for a living? What did they eat and what affected their health? How did the family function? These and similar questions form the basis for this book.
The book introduces different aspects of daily life. It describes the natural setting and the people who occupied the land. It deals with the economy, both rural and urban, emphasizing the main sources of livelihood such as agriculture, herding, and trade. These topics are discussed in relation to the family in particular and the social structure in general. Other topics include urban society, the bureaucracy and the military. Beyond material culture, the book delves into daily and seasonal cultural, social and religious activities, art, music, and the place of writing in Israelite society.
Drawing on textual and archaeological evidence, and written with nontechnical language, the book will be especially helpful for undergraduates, seminarians, pastors, rabbis, and other interested nonspecialist readers as well as graduate students and faculty in Hebrew Bible.
Past studies of medieval Portugal have focused on such specific themes as political or administrative history and voyages of discovery. Oliveira Marques, however, has captured the vast spectrum of Portuguese daily life from the twelfth through the fifteenth centuries The whole of medieval society is depicted, both on a national scale and, more important, society as it affected the individual in his everyday activities. Oliveira Marques gives us an engaging and original social history which examines customary meals, dress, homes, work, spiritual life, even ideas about courtship and love. Medieval Portuguese culture and education, amusements and funeral customs are all a part of this portrait.
A Decade of Negative Thinking brings together writings on contemporary art and culture by the painter and feminist art theorist Mira Schor. Mixing theory and practice, the personal and the political, she tackles questions about the place of feminism in art and political discourse, the aesthetics and values of contemporary painting, and the influence of the market on the creation of art. Schor writes across disciplines and is committed to the fluid interrelationship between a formalist aesthetic, a literary sensibility, and a strongly political viewpoint. Her critical views are expressed with poetry and humor in the accessible language that has been her hallmark, and her perspective is informed by her dual practice as a painter and writer and by her experience as a teacher of art.
In essays such as “The ism that dare not speak its name,” “Generation 2.5,” “Like a Veneer,” “Modest Painting,” “Blurring Richter,” and “Trite Tropes, Clichés, or the Persistence of Styles,” Schor considers how artists relate to and represent the past and how the art market influences their choices: whether or not to disavow a social movement, to explicitly compare their work to that of a canonical artist, or to take up an exhausted style. She places her writings in the rich transitory space between the near past and the “nextmodern.” Witty, brave, rigorous, and heartfelt, Schor’s essays are impassioned reflections on art, politics, and criticism.
Nearly all residents of England and its colonies between 1860 and 1914 were active theatergoers, and many participated in the amateur theatricals that defined late Victorian life. The Victorian theater was not an abstract figuration of the world as a stage, but a media system enmeshed in mass lived experience that fulfilled in actuality the concept of a theatergoing nation. Everyone’s Theater turns to local history, the words of everyday Victorians found in their diaries and production records, to recover this lost chapter of theater history in which amateur drama domesticates the stage. Professional actors and playwrights struggled to make their productions compatible with ideas and techniques that could be safely reproduced in the home—and in amateur performances from Canada to India. This became the first true English national theater: a society whose myriad classes found common ground in theatrical display. Everyone’s Theater provides new ways to extend Victorian literature into the dimension of voice, sound, and embodiment, and to appreciate the pleasures of Victorian theatricality.
While trillions of dollars came and went in the stock market boom of the 1990s, the image of "every man and woman a CEO" may turn out to be the era's lasting legacy. Business news, once reserved to specialized papers or sections of the larger news of the day, came to the forefront in cable television and in cultural images of how ordinary people, through the internet and other avenues could not only master their financial life, but move money and equity around with the ease of a financial titan. Financialization of Daily Life looks at how this transformation occurred, and how it is just now becoming a significant, and troubling, aspect of our political and cultural life.Randy Martin takes us through all of the aspects of our "financialization." He examines how the shift in economic life arose not only from changes in culture, but also from new policy priorities that emphasize controlling inflation over promoting growth. He offers a close reading of self-help literature that teaches parents how to rear financially literate children and to instruct adults in the fundamentals of fiscal management. He examines just what a society that treats financial investment as a national past time really looks like, and how that society is transforming the world.In a country rocked by scandals in accounting and banking, the identification ordinary citizens make with, and the risk with which they engage in, the stock market calls into question the very basis of our economic system. Randy Martin spells out in clear terms the implications our financial doings—and undoing—have for the way we organize our lives, and, especially, our money.
Painted vases are the richest and most complex images that remain from ancient Greece. Over the past decades, a great deal has been written on ancient art that portrays myths and rituals. Less has been written on scenes of daily life, and what has been written has been tucked away in hard-to-find books and journals. A Guide to Scenes of Daily Life on Athenian Vases synthesizes this material and expands it: it is the first comprehensive volume to present visual representations of everything from pets and children's games to drunken revelry and funerary rituals.
John H. Oakley's clear, accessible writing provides sound information with just the right amount of detail. Specialists of Greek art will welcome this book for its text and illustrations. This guide is an essential and much-needed reference for scholars and an ideal sourcebook for classics and art history.
Home Front: Daily Life in the Civil War North
Peter John Brownlee, Sarah Burns, Diane Dillon, Daniel Greene, and Scott Manning Stevens University of Chicago Press, 2013 Library of Congress N6510.H57 2013 | Dewey Decimal 704.9499737
More than one hundred and fifty years after Confederates fired on Fort Sumter, the Civil War still occupies a prominent place in the national collective memory. Paintings and photographs, plays and movies, novels, poetry, and songs portray the war as a battle over the future of slavery, often focusing on Lincoln’s determination to save the Union, or highlighting the brutality of brother fighting brother. Battles and battlefields occupy us, too: Bull Run, Antietam, and Gettysburg all conjure up images of desolate landscapes strewn with war dead. Yet the frontlines were not the only landscapes of the war. Countless civilians saw their daily lives upended while the entire nation suffered.
Home Front: Daily Life in the Civil War North reveals this side of the war as it happened, comprehensively examining the visual culture of the Northern home front. Through contributions from leading scholars from across the humanities, we discover how the war influenced household economies and the cotton economy; how the absence of young men from the home changed daily life; how war relief work linked home fronts and battle fronts; why Indians on the frontier were pushed out of the riven nation’s consciousness during the war years; and how wartime landscape paintings illuminated the nation’s past, present, and future.
A companion volume to a collaborative exhibition organized by the Newberry Library and the Terra Foundation for American Art, Home Front is the first book to expose the visual culture of a world far removed from the horror of war yet intimately bound to it.
Locally acclaimed as one of the better programs of its kind in the region, "Academy" exemplifies a new kind of institution, providing transitional school services under contract with both educational and juvenile justice agencies. Birnbaum's narrative focuses on curriculum, teaching, behavior management, and the social organization and culture of the program, offering a close-up view of the everyday classroom interactions that frame student achievement and, ultimately, program outcomes. What do students learn? What do teachers teach? What educational and rehabilitative goals are embedded in official and unofficial policy? What processes inside and outside the building help or hinder the attainment of those goals?
As educational and justice agencies increasingly turn to private subcontractors to deliver an array of services and growing numbers of young people are channeled into non-traditional educational settings and correctional institutions, it is imperative that educators and the general public understand how these institutions work and what problems their students and staffs encounter. This on-the-ground examination of the education within the juvenile justice system will open your eyes to how we educate some of our neediest children.
The residents of Caxambu, a squatter neighborhood in Rio de Janeiro, live in a state of insecurity as they face urban violence. Living with Insecurity in a Brazilian Favela examines how inequality, racism, drug trafficking, police brutality, and gang activities affect the daily lives of the people of Caxambu. Some Brazilians see these communities, known as favelas, as centers of drug trafficking that exist beyond the control of the state and threaten the rest of the city. For other Brazilians, favelas are symbols of economic inequality and racial exclusion. Ben Penglase’s ethnography goes beyond these perspectives to look at how the people of Caxambu themselves experience violence.
Although the favela is often seen as a war zone, the residents are linked to each other through bonds of kinship and friendship. In addition, residents often take pride in homes and public spaces that they have built and used over generations. Penglase notes that despite poverty, their lives are not completely defined by illegal violence or deprivation. He argues that urban violence and a larger context of inequality create a social world that is deeply contradictory and ambivalent. The unpredictability and instability of daily experiences result in disagreements and tensions, but the residents also experience their neighborhood as a place of social intimacy. As a result, the social world of the neighborhood is both a place of danger and safety.
Thomas Gregor sees the Mehinaku Indians of central Brazil as performers of roles, engaged in an ongoing improvisational drama of community life. The layout of the village and the architecture of the houses make the community a natural theater in the round, rendering the villagers' actions highly visible and audible. Lacking privacy, the Mehinaku have become masters of stagecraft and impression management, enthusiastically publicizing their good citizenship while ingeniously covering up such embarrassments as extramarital affairs and theft.
This is the engrossing story of the unsung heroes who did the day-to-day work of building Arizona's dams, focusing on the lives of laborers and their families who created temporary construction communities during the building of seven major dams in central Arizona. The book focuses primarily on the 1903-1911 Roosevelt Dam camps and the 1926-1927 Camp Pleasant at Waddell Dam, although other camps dating from the 1890s through the 1940s are discussed as well. The book is liberally illustrated with historic photographs of the camps and the people who occupied them while building the dams.
How often do you find moments of deep peace and satisfaction in your day-to-day life? How often does connection with other people, the divine, or nature make you feel more alive? How often are you touched by a sense of awe-inspiring beauty, compassionate love, or pure joy? For many of us, these kinds of experiences tend to be fleeting and all too rare. Fortunately, new research is suggesting that a regular practice of paying attention to experiences like these can help any of us find them more often and cultivate richer, deeper, and more satisfying lives.
In Spiritual Connection in Daily Life, Lynn Underwood introduces her Daily Spiritual Experience Scale (DSES), which is comprised of sixteen simple, multiple-choice questions that invite us to become more attuned tothese extraordinary experiences in ordinary life. The DSES is the definitive set of questions for measuring the experience of spiritual connection and has been used in hundreds of studies, translated into over twenty languages, and used around the world by counselors, therapists, nurses, social workers, clergy from multiple faiths, and business leaders.
Spiritual Connection in Daily Life offers a step-by-step guide to using the DSES to improve our abilities to sense the “more than” in the midst of our days. Embraced by people from many different cultures, religious traditions, and professional backgrounds, the DSES doesn’t require any extraordinary experience like hearing divine voices or embarking upon a dramatic religious conversion. Nor does it belabor the exact definition of “spirituality.” Rather, it simply invites us to focus on aspects of our daily lives such as deep peace, sense of inner strength, longing, and compassionate love. The sixteen questions also provide a common, nonpolarizing language for communicating with others about the role of the “more than” in our lives.
Adherents of all faith traditions, as well as people with no religious leanings whatsoever, have experienced profound and lasting benefits from having these experiences, including improved health behaviors, better relationships, decreased stress and burnout, and improvements in daily mood. Now all of us can reap these same long-term benefits with just a little bit of self-reflection and Dr. Underwood’s expert guidance.
Storytelling is perhaps the most common way people make sense of their experiences, claim identities, and "get a life." So much of our daily life consists of writing or telling our stories and listening to and reading the stories of others. But we rarely stop to ask: what are these stories? How do they shape our lives? And why do they matter?The authors ably guide readers through the complex world of performing narrative. Along the way they show the embodied contexts of storytelling, the material constraints on narrative performances, and the myriad ways storytelling orders information and tasks, constitutes meanings, and positions speaking subjects. Readers will also learn that narrative performance is consequential as well as pervasive, as storytelling opens up experience and identities to legitimization and critique. The authors' multi-leveled model of strategy and tactics considers how relations of power in a system are produced, reproduced, and altered in performing narrative.The authors explain this strategic model through an extended discussion of family storytelling, using Franco Americans in Maine as their exemplar. They explore what stories families tell, how they tell them, and how storytelling creates family identities. Then, they show the range and reach of this strategic model by examining storytelling in diverse contexts: a breast cancer narrative, a weblog on the Internet, and an autobiographical performance on the public stage. Readers are left with a clear understanding of how and why the performance of narrative is the primary communicative practice shaping our lives today.