Cultural Emergence

From a pioneer in "social permaculture," how we can foster the inner resources to create the world we know is possible As we emerge from the pandemic, we know there is no going back but how do we step forward? Looby Macnamara is an international thought leader who has been teaching people how to create positive change in their lives, relationships and communities for nearly 20 years. She draws upon the lineages of indigenous wisdom, permaculture design, the Work That Reconnects and combines these with a new understanding of systems thinking and culture to create a profoundly effective toolkit. Cultural Emergence supports us in designing the world we want to live in. It is both a framework and toolkit that enables our personal and collective journeys of connection and well-being. It activates healing and revolutionises our approach to creating life-sustaining and regenerative cultures. This book is filled with activities and reflective questions to help us: Bring together deep nature connection, design and systems thinking to create a holistic system of transformation Embody the learning and effectively embed the changes in our lives into new ways of being and interacting Build resilience in turbulent times and support us to adjust to transitions, whether they are personal life changes or collective challenges such as climate change Understand where problems come from and how we can create deep healing and radical reflection of the root causes Expand our thinking and possibilities Use the tools to create the conditions for emergence, informing the creation of cultures of care, connection, peace, health, effectiveness and trust. Cultural Emergence is visionary and practical, wise and simple to use. It is a message of hope with tools for empowerment. It is a timely, much-needed book that has the potential to be help enable deep and radical transformation.

In this unusually wide-ranging study, spanning more than a century and covering such diverse forms of expressive culture as Shakespeare, Central Park, symphonies, jazz, art museums, the Marx Brothers, opera, and vaudeville, a leading cultural historian demonstrates how variable and dynamic cultural boundaries have been and how fragile and recent the cultural categories we have learned to accept as natural and eternal are. For most of the nineteenth century, a wide variety of expressive forms—Shakespearean drama, opera, orchestral music, painting and sculpture, as well as the writings of such authors as Dickens and Longfellow—enjoyed both high cultural status and mass popularity. In the nineteenth century Americans (in addition to whatever specific ethnic, class, and regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the twentieth century this cultural eclecticism and openness became increasingly rare. Cultural space was more sharply defined and less flexible than it had been. The theater, once a microcosm of America—housing both the entire spectrum of the population and the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy—now fragmented into discrete spaces catering to distinct audiences and separate genres of expressive culture. The same transition occurred in concert halls, opera houses, and museums. A growing chasm between “serious” and “popular,” between “high” and “low” culture came to dominate America’s expressive arts. “If there is a tragedy in this development,” Lawrence Levine comments, “it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven, and Verdi, whom they had enjoyed in various formats for much of the nineteenth century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value and importance of the popular art forms that were all around them. Too many of those who considered themselves educated and cultured lost for a significant period—and many have still not regained—their ability to discriminate independently, to sort things out for themselves and understand that simply because a form of expressive culture was widely accessible and highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit.” In this innovative historical exploration, Levine not only traces the emergence of such familiar categories as highbrow and lowbrow at the turn of the century, but helps us to understand more clearly both the process of cultural change and the nature of culture in American society.

This book describes the emergent nature of human culture, based on the human ability to create and pass on social codes through instruction and example. It proposes hypotheses to explain how a phenomenon that is potentially maladaptive for individuals could have evolved, and to explain why culture plays such a pervasive role in human life. It then reviews the primatological, fossil, and archaeological data to test these hypotheses.

Major figures in contemporary anthropology present a dialogic critique of ethnography. Moving beyond sociolinguistics and performance theory, and inspired by Bakhtin and by their own field experiences, the contributors revise notions of where culture actually resides. This pioneering effort integrates a concern for linguistic processes with interpretive approaches to culture. Culture and ethnography are located in social interaction. The collection contains dialogues that trace the entire course of ethnographic interpretation, from field research to publication. The authors explore an anthropology that actively acknowledges the dialogical nature of its own production. Chapters strike a balance between theory and practice and will also be of interest in cultural studies, literary criticism, linguistics, and philosophy. CONTRIBUTORS: Deborah Tannen, John Attinasi, Paul Friedrich, Billie Jean Isbell, Allan F. Burns, Jane H. Hill, Ruth Behar, Jean DeBernardi, R. P. McDermott, Henry Tylbor, Alton L. Becker, Bruce Mannheim, Dennis Tedlock

Why did science emerge in the West and how did scientific values come to be regarded as the yardstick for all other forms of knowledge? Stephen Gaukroger shows just how bitterly the cognitive and cultural standing of science was contested in its early development. Rejecting the traditional picture of secularization, he argues that science in the seventeenth century emerged not in opposition to religion but rather was in many respects driven by it. Moreover, science did not present a unified picture of nature but was an unstable field of different, often locally successful but just as often incompatible, programmes. To complicate matters, much depended on attempts to reshape the persona of the natural philosopher, and distinctive new notions of objectivity and impartiality were imported into natural philosophy, changing its character radically by redefining the qualities of its practitioners. The West's sense of itself, its relation to its past, and its sense of its future, have been profoundly altered since the seventeenth century, as cognitive values generally have gradually come to be shaped around scientific ones. Science has not merely brought a new set of such values to the task of understanding the world and our place in it, but rather has completely transformed the task, redefining the goals of enquiry. This distinctive feature of the development of a scientific culture in the West marks it out from other scientifically productive cultures. In The Emergence of a Scientific Culture, Stephen Gaukroger offers a detailed and comprehensive account of the formative stages of this development—-and one which challenges the received wisdom that science was seen to be self-evidently the correct path to knowledge and that the benefits of science were immediately obvious to the disinterested observer.

This state-of-the-art exploration of language, culture, and identity is orchestrated through prominent scholars’ and teachers’ narratives, each weaving together three elements: a personal account based on one or more memorable or critical incidents that occurred in the course of learning or using a second or foreign language; an interpretation of the incidents highlighting their impact in terms of culture, identity, and language; the connections between the experiences and observations of the author and existing literature on language, culture and identity. What makes this book stand out is the way in which authors meld traditional ‘academic’ approaches to inquiry with their own personalized voices. This opens a window on different ways of viewing and doing research in Applied Linguistics and TESOL. What gives the book its power is the compelling nature of the narratives themselves. Telling stories is a fundamental way of representing and making sense of the human condition. These stories unpack, in an accessible but rigorous fashion, complex socio-cultural constructs of culture, identity, the self and other, and reflexivity, and offer a way into these constructs for teachers, teachers in preparation and neophyte researchers. Contributors from around the world give the book broad and international appeal.

The Rise of Victimhood Culture offers a framework for understanding recent moral conflicts at U.S. universities, which have bled into society at large. These are not the familiar clashes between liberals and conservatives or the religious and the secular: instead, they are clashes between a new moral culture—victimhood culture—and a more traditional culture of dignity. Even as students increasingly demand trigger warnings and “safe spaces,” many young people are quick to police the words and deeds of others, who in turn claim that political correctness has run amok. Interestingly, members of both camps often consider themselves victims of the other. In tracking the rise of victimhood culture, Bradley Campbell and Jason Manning help to decode an often dizzying cultural milieu, from campus riots over conservative speakers and debates around free speech to the election of Donald Trump.