Corporatism is being reinvented in current theories about global democracy. As I see it, corporatism can be regarded as a practical way out of democracy’s intensity problem: whether those more involved in an issue should have greater say. By the same token, corporatism can be perceived as a response to the all-affected principle: whether those especially affected by a decision should have more influence. In nation-states, corporatism was to a large extent dismantled during the 1980s. In world politics, by contrast, NGOs are now called upon to play an important role in not only articulating intense and affected interests but also, in so doing, realizing a global democracy. The weakness of this argument is that today’s NGOs do not reflect the will of most people—as national organizations once managed to do—and, consequently, cannot fulfill the integrative and representative function associated with this form of interest politics.
Durkheim in the Cathedral
In this article I explore the continued salience of Durkheimian effervescence through an examination of ritual activities contained within contemporary English cathedrals. My argument focuses less on collective occasions of creative or destructive tumult and more on ritualised forms of action where modalities of engagement and participation are nuanced, reflexively negotiated and small-scale. My aim is to render more subtle – and potentially productive – our understandings of gradations in ritual intensity.
Richard York, Christina Ergas, Eugene A. Rosa and Thomas Dietz
We examine trends since 1980 in material extraction in China, India, Indonesia, and Japan—which together contain over 40% of the world's population—to assess the environmental consequences of modernization. Economic and population growth has driven rapid expansion of material extraction in China, India, and Indonesia since 1980. China and India exhibit patterns consistent with the Jevons paradox, where the economic intensity of extraction (extraction/GDP) has steadily declined while total extraction grew. In Indonesia, extraction intensity grew along with total extraction. In Japan, total extraction remained roughly constant, increasing somewhat in the 1980s and then slowly declining after 1990, while extraction intensity declined throughout the entire period. These different patterns can be understood to some degree by drawing on political-economic and world-systems perspectives. Japan is an affluent, core nation that can afford to import materials from other nations, thereby avoiding escalation of material extraction within its borders. China and India are rapidly industrializing nations that, although increasingly drawing on resources from beyond their borders, still rely on their own natural resources for growth. Indonesia, an extraction economy with less global power than the other nations examined here, exports its own natural resources, often unprocessed, to spur economic growth. The trends highlighted here suggest that in order to avert environmental crisis, alternative forms of development, which do not involve traditional economic growth, may need to be adopted by nations around the world.
In Pursuit of the New Millennium
Bruce Kapferer, Annelin Eriksen and Kari Telle
An approach is outlined toward imaginary projections upon presents and futures at the turn of the current millennium. The religiosity or the passionate intensity of commitment to imaginary projections is stressed, particularly the way that these may give rise to innovative social and political directions especially in current globalizing circumstances. While new religions of a millenarian character are referred to, the general concern is with the form of new conceptions of political and social processes that are by no means confined to what are usually defined as religions.
Drawing on my experience of a Muslim version of exorcism in urban Macedonia, this article continues a methodological discussion of the implications of being an atheist anthropologist when researching religion, a situation known as 'methodological atheism'. Methodological atheism is often linked to the problem of suspending one's intellectual disregard of people's religions as delusions. This article will argue instead that there are barriers to participation in religious rituals that are not covered by questions of disbelief. The notion of 'dispositional atheism' is discussed against the backdrop of the anxieties, uncertainties, and inhibitions experienced by an atheist anthropologist caught up in a moment of religious intensity.
Marjo de Theije
Based on research in Brazil, the author discusses three local situations of conflict and social protest, using a transnational perspective. She concentrates on the use of universal claims of Catholicism in local negotiations of religious change under the influence of different cultural campaigns. The clashes in question are divided into those involving local political problems and those concerning the religious domain itself. The analysis shows that in each of the cases—albeit with different intensity and outcome—the interconnection between translocal processes and the meaning and experience of locality has a significant role in the power plays and the formulations of religious or social protest in the local context.
This article traces the main methodological and substantial similarities between Reinhart Koselleck's notion of Begriffsgeschichte and J. G. A. Pocock's approach to the history of political thought. Both approaches are responses to the shift in the unit of analysis in the study of human historical consciousness. Rather than focusing on ideas, Koselleck and Pocock concentrate on how language articulated heightened awareness of historical change. Concepts and paradigms reflect in varying manners the intensity of historical sedimentation. The more sedimentation, less space there is for innovation, and political action tends to be conservative. Conversely, unstable concepts or obsolete paradigms, reflect historical change and space for linguistic innovation.
Melodramas are sometimes called "tearjerkers" because of their ability to make viewers cry, but there is currently no detailed account of how they succeed at this task. Psychological research suggests that crying occurs when people feel helpless in the face of intense emotion. The emotion felt most intensely when watching melodramas is sadness, and sadness has a structure and specific features that determine its intensity. I describe the ways the conventions of melodrama fulfill the criteria for intense sadness and perceived helplessness that underlie these films' ability to make viewers cry. I illustrate this model with a detailed analysis of Stella Dallas (1937).
The Lost Leader; Group Disintegration, Transformation and Suspended Reconsolidation
King Lear (1605–6) is the primary enactment of psychic breakdown in English literary history. It constitutes, also, the most spectacular instance of a controlled explosion of the formal ‘container’ in Western drama – such that it not only violated whatever Aristotle or Boileau might have to offer on the proper structure of tragedy but provoked, too, the very different sensibilities of Dr Johnson and Count Tolstoy. Set in its raw pre-Christian world, the play remains the major Shakespearean rebuttal of Sophoclean fearful symmetry (Oedipus Rex) – corrosive in its existential negativity, yet paradoxically fructive in spawning such twentieth-century ‘countertransferential’ progeny as George Bernard Shaw’s Heartbreak House, Samuel Beckett’s Endgame or Edward Bond’s Lear. Keats, on rereading it wrote about the ‘bitter-sweet’ of being ‘consumèd in the fire’, with all the intensity of one closely associated with ‘Consumption’.
This article examines the relationship between boredom and cinema, particularly by attending to the ways in which it has been used as an aesthetic strategy in contemporary slow films. These films use long takes and dedramatization to create dead time, where narrative causality and progress are abandoned to facilitate contemplative viewing. The article argues that this mode of spectatorship exhibits close affinities to underlying features of boredom, and that filmmakers mute dramatic intensity and foreground idleness and ambiguity for a more aesthetically rewarding cinematic experience. The article explores this question through examining different types of boredom and dedramatization, before concluding with an extended analysis of Once Upon a Time in Anatolia (Nuri Bilge Ceylan, 2011).