Amid growing interest in mindfulness studies focusing on Buddhist and Buddhism-derived practices, this article argues for a comparative and ethnographic approach to analogous practices in different religious traditions and to their vernacular significance in the everyday lives of practitioners. The Jewish contemplative tradition identified with Chabad Hasidism is worth consideration in this context because of its long-standing indigenous tradition of contemplative practice, the recent adoption of ‘mindfulness’ practices or terminology by some Hasidim, and its many intersections with so-called Buddhist modernism. These intersections include the personal trajectories of individuals who have engaged in both Buddhist and Hasidism-derived mindfulness practices, the shared invocation and adaptation of contemporary psychology, and the promotion of secularized forms of contemplative practice. We argue that ‘Hasidic modernism’ is a better frame than ‘neo-Hasidism’ for comparative purposes, and that Hasidic modernism complicates the taxonomies of secularity in comparable but distinctive ways to those that arise in Buddhist-modernism contexts.
Toward a Contemplative Ethnography
Don Seeman and Michael Karlin
Huxley's Brave New World and Orwell's Nineteen Eighty-Four
This article discusses two popular late modernist works, Aldous Huxley's Brave New World and George Orwell's Nineteen Eighty-Four. It argues that the formal and thematic complexity of both works has been overlooked because of an understandable, but ultimately rather myopic fixation on their gripping ideas and frightening political messages, and puts them back in the context of modernism, seeing them as part of a body of late modernist works engaged in questions of travel and transnational encounter. The article situates Huxley and Orwell's novels in the socio-cultural context of the 1930s and 1940s, figuring the dystopian impulse as a reaction to a time of global upheaval and uncertainty. By understanding these novels as examples of travel fiction, we become more attuned to the kinds of complex ethical questions they ask regarding how to view both other worlds and other people.
The Case of Sakha (Iakutiia)
This issue of Sibirica focuses on one of the Siberian regions—The Republic of Sakha (Iakutiia). This in-depth presentation has two main goals: we hope to provide the readers with a more detailed look into the current situation in the republic and to start a new initiative of the journal to take close-up looks at various Siberian regions. For Siberian studies Sakha represents an interesting case: on the one hand, its experience and developments are unique, its recent political and economic changes are setting an example of potential way to devolution; on the other hand, the republic’s experiences are typical of those in any other Siberian peripheral region.
Dorothy Richardson's Oberland
Oberland has typically been viewed as an odd interlude in Dorothy Richardson's novel sequence Pilgrimage. Depicting a fortnight spent in the Swiss Alps, it focuses on the experience and influence of travel and new surroundings, celebrating a state of intense wonder—“the strange happiness of being abroad.” This article argues that reading Oberland within the tradition of travel writing rather than the novel improves our understanding of the volume's distinctiveness as well as themes central to the whole of Pilgrimage—in particular those of wonder and “privileged sight,” faculties that, it is suggested, are essential to the artistic temperament. Concerned less with the protagonist's inner life and more with her immediate experience of place, Oberland may be distinct from the rest of Pilgrimage, but not from modernist travel narratives. This article considers the implications of such genre distinctions for Richardson's text and what it means for her protagonist Miriam's development toward artisthood.
Dominant but dead
Some years ago Jürgen Habermas (1991) diagnosed modernism as dominant but dead. Neo- liberalism may still be in its youth, having come to fruition only after the 1970s, but it seems reasonable to conclude that neo-liberalism too is “dominant but dead.” The ferment of new ideas, however much they were simultaneously recycled axia from the earlier liberal tradition, reached its peak in the 1980s.
This article starts from three preliminary and interrelated issues: the status of travel writing as a literary genre and its development in the first half of the twentieth century; the social/textual figures that define the tendencies in travel culture and its main protagonists (especially the dichotomy of traveller/tourist as a particular figure of the dichotomy of high/popular culture); and, finally, the concept of modernism that enables a sound integration of all the elements necessary for such an analysis. In order to facilitate understanding, examples from English literature and travel writing will occasionally be given.
‘Race’ in US American Language
Africa as the panacea for all things. Formal education, it was said, produces literacy: it heralds modernism, that is, the idea of progress ( Habermas 1984 ), and brings enlightenment and freedom from anachronistic habits in thought and practices ( Wiredu
Anna Bara and Erika Monahan
intended. Contrary to the svoir faire— local, practical skills that James Scott, in Seeing Like a State argued could serve as a corrective to the failures of “high modernism”—Cameron finds that local involvement in bai confiscation made it worse, and
/Western/secular) world and its ideology of resistance to “corrupted” modernism, dominated the local religious landscape and became a fast-growing church there. To answer what made possible the rise of Christian fundamentalism in the Nenets tundra, this article shifts the
Austro-German Filmmaker, Bestselling Author, and Journalist Colin Ross Discovers Australia
. 5 : 621 – 648 . 10.1080/00467600802054562 Hansen , Miriam Bratu . 1999 . “ The Mass Production of the Senses: Classical Cinema as Vernacular Modernism .” Modernism/Modernity 6 , no. 2 : 59 – 77 . 10.1353/mod.1999.0018 Hayball , Doris . 1937