This article is conceived as an overview of the career and scholarship of Claude Langlois. It emphasizes the breadth, diversity, and volume of his work, giving particular attention to four fields in which Langlois made especially important contributions. These fields to some extent mark four phases of his scholarly career-although not necessarily in chronological order. These are historical religious sociology, the French Revolution, women and religion, and theology and spirituality. The conclusion stresses the originality and independence of thought displayed by Langlois throughout his career.
Israel’s democratic order is currently being assailed in a concerted effort to reformulate its priorities and redefine its identity. The civic nature of Israeli nationalism, as delineated by its founders, is being questioned by a growing neo-nationalist wave bent on displacing the universal and Jewish values of equality, justice, and tolerance ensconced in its declaration of independence with an ethnically driven worldview that links the connection between the land and the people with an exclusivist package, which denies diversity and denigrates pluralism.
The Algerian War, French Textbooks and How Violence Is Remembered
French history textbooks occupy a pivotal position in the colonial fracture. They impart difficult knowledge about the Algerian War of Independence, knowledge that impacts the relationships between the communities of memory in France today. Textbook analysis has focused on their verbal content and, recently, in the work of Jo McCormack, on corresponding teaching practices. This article highlights graphic design as one layer of visual knowledge production and primarily contributes to the methodology of textbook analysis with an exemplary multimodal analysis. It reveals a hidden narrative about the postcolonial relationship that is not expressed in words.
Adam Drazin and Simon Roberts
Ethnographic work conducted by the Digital Health Group, Intel Ireland, explores the questions of how concepts of health and independence relate to peoples' lives in later life. This paper serves to present artistic approaches to the design of the material culture in elderly homes in Ireland, and aims to highlight and discuss the merits and problems of such approaches. Through writing 'in miniature' about specific experiences and homes, we propose that it is possible to develop explorations of material objects in the home which, rather than presenting material contexts as terminal 'conclusions' to the research process, use them as provoking and questioning resources for engaged dialogical encounters with informants.
Ruy Llera Blanes and Abel Paxe
In this article we chart the histories and political translations of atheist cultures in Angola. We explore the specific translations of atheist ideologies into practical actions that occurred in the post-independence period in the 1970s–1980s and perform an ethnographic exploration of their legacies in contemporary Angola. We also debate the problem of atheism as an anthropological concept, examining the interfaces between ideology, political agency, and social praxis. We suggest that atheism is inherently a politically biased concept, a product of the local histories and intellectual traditions that shape it.
The definition of what precisely we mean by poverty is controversial. Yet empirical evidence establishes firmly that both the gap between the richest and the poorest countries in the world has been widening (as measured in terms of per capita GDP) since 1960, and that since independence a number of the very poorest countries in the world have experienced negative growth in per capita GDP. Regardless of whether one is concerned with relative or absolute conceptions of poverty, therefore, it is difficult to argue that poverty has not become a problem of greater urgency.
The Arts and State Power
The development of the arts as a collective modern phenomenon is intricately woven into its genesis in the milieu of princely Renaissance courts of varying size, complexity, and indeed grandeur that provided sustenance and shelter to artists of all kinds during the fifteenth to eighteenth centuries (see Burckhardt  1990). The protection of artists was the province of aristocratic dynasties that could augment or rescind their patronage at unpredictable moments; nonetheless, as Elias (1993) makes clear, artists such as Mozart struggled constantly to maintain some kind of independence from their noble benefactors.
Nabil Lahlou's Ophelia Is Not Dead
A corpus of plays related to Shakespeare has developed within the newly established genre of drama in Morocco since its independence in 1956. Most of these dramas are part of the process of constructing Moroccan cultural/theatrical identity. The various Shakespearean manifestations are, indeed, attempts to make a theatrical space by altering or reproducing the Shakespearean myth. However, in order to conceive of Moroccan dramatic texts related to Shakespeare as cultural utterances, we must read them with and within the parameters of a series of overlapping discursive contexts. These contexts, as I hope to demonstrate, create the conditions within which these hybridized texts take on their complex cultural signifi cation.
Discrepancies between Public Discourses and School History Textbooks from 1916 to 1936
This article investigates discrepancies between narratives of national independence in public discourses surrounding the First World War and narratives of loyalty in school textbooks in Queensland, Australia. Five textbooks commonly used in schools from 1916 to 1936 are analyzed in order to ascertain how the First World War was represented to pupils via the history curriculum. This article argues that, although public discourses were in a state of flux, and often viewed Australia as a country that was becoming increasingly independent of its colonial ruler Great Britain, textbooks that maintained a static view continued to look to Great Britain as a context in which to teach national history to school pupils.
Some Comments on David Bordwell’s Narration in the Fiction Film
These comments concern Bordwell’s explicit and implicit claims about cinematic authorship in his 1985 Narration in the Fiction Film. Distinctions are drawn between causal and attributionist conceptions of authorship, and between actualist and fictionalist views about the spectator’s attitude toward authorship. A key question concerns the autonomy or independence of a viewer’s competent uptake of story and narration, as opposed to its dependence on knowledge of authorship or authorial design. The example of cinematic quotation in Resnais’s Mon oncle d’Amérique is used to illustrate the pertinence of the latter option.