Winner, Senior Book Prize, American Ethnological Society
Starting with the post-structuralist idea that truth systems are lodged in discourse, and that discourse varies from society to society, Greg Urban seeks to discover the nature and extent of that variation. His journey to an Amerindian society in which dreams are more prominent than everyday aspects of the sensible world leads him to radically reformulate one of the main problematics of Western thought: the relationship between our sensations of the world and the understandings we form of them.
Metaphysical Community proposes that this dichotomy comes from the interplay between two sides of discourse-its intelligible side as a carrier of meanings, and its sensible side as thing-in-the-world that must be replicated. This insight leads to the heart of the book-the exploration of the uneasy tension that binds experience and understanding, phenomena and noumena.
Urban challenges basic assumptions that underlie social and cultural anthropology and much of the social sciences and humanities. His provocative insights will be of interest to all those concerned with anthropology, cultural studies, literary criticism, the sociology and politics of culture, and philosophy.
In The Senses of Democracy, Francine R. Masiello traces a history of perceptions expressed in literature, the visual arts, politics, and history from the start of the nineteenth century to the present day. A wide transnational landscape frames the book along with an original and provocative thesis: when the discourse on democracy is altered—when nations fall into crisis or the increased weight of modernity tests minds and nerves—the representation of our sensing bodies plays a crucial role in explaining order and rebellion, cultural innovation, and social change.
Taking a wide arc of materials—periodicals, memoirs, political proclamations, and travel logs, along with art installations and fiction—and focusing on the technologies that supplement and enhance human perception, Masiello looks at the evolution of what she calls “sense work” in cultural texts, mainly from Latin America, that wend from the heights of romantic thought to the startling innovations of modernism in the early twentieth century and then to times of posthuman experience when cyber bodies hurtle through globalized space and human senses are reproduced by machines. Tracing the shifting debates on perceptions, The Senses of Democracy offers a new paradigm with which to speak of Latin American cultural history and launches a field for the comparative study of bodies, experience, pleasure, and pain over the continental divide. In the end, sense work helps us to understand how culture finds its location.
Beginning with the assertion that earth is the elemental place that grants an abode to humans and to other living things, in Senses of Landscape the philosopher John Sallis turns to landscapes, and in particular to their representation in painting, to present a powerful synthetic work.
Senses of Landscape proffers three kinds of analyses, which, though distinct, continually intersect in the course of the book. The first consists of extended analyses of distinctive landscapes from four exemplary painters, Paul Cezanne, Caspar David Friedrich, Paul Klee, and Guo Xi. Sallis then turns to these artists’ own writings—treatises, essays, and letters—about art in general and landscape painting in particular, and he sets them into a philosophical context. The third kind of analysis draws both on Sallis’s theoretical writings and on the canonical texts in the philosophy of art (Kant, Schelling, Hegel, and Heidegger). These analyses present for a wide audience a profound sense of landscape and of the earthly abode of the human.
Much of intercultural cinema, Marks argues, has its origin in silence, in the gaps left by recorded history. Filmmakers seeking to represent their native cultures have had to develop new forms of cinematic expression. Marks offers a theory of “haptic visuality”—a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste—to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory. Using close to two hundred examples of intercultural film and video, she shows how the image allows viewers to experience cinema as a physical and multisensory embodiment of culture, not just as a visual representation of experience. Finally, this book offers a guide to many hard-to-find works of independent film and video made by Third World diasporic filmmakers now living in the United States, Great Britain, and Canada.
The Skin of the Film draws on phenomenology, postcolonial and feminist theory, anthropology, and cognitive science. It will be essential reading for those interested in film theory, experimental cinema, the experience of diaspora, and the role of the sensuous in culture.
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