Kamis, 07 Agustus 2014

^^ Download Ebook Sound and Symbol: Music and the External World (Bollingen Series XLIV), by Victor Zuckerkandl

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Sound and Symbol: Music and the External World (Bollingen Series XLIV), by Victor Zuckerkandl

An approach to music as an instrument of philosophical inquiry, seeking not so much a philosophy of music as a philosophy through music.

  • Sales Rank: #1054279 in Books
  • Color: Other
  • Brand: Brand: Princeton University Press
  • Published on: 1969
  • Released on: 1968-11-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x 1.04" w x 5.00" l, 1.00 pounds
  • Binding: Paperback
  • 407 pages
Features
  • Used Book in Good Condition

Language Notes
Text: English, German (translation)

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0 of 0 people found the following review helpful.
Five Stars
By Maurice M. Rodgers
Excellent

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Selasa, 05 Agustus 2014

~ Ebook Free Camille Saint-Saëns and His World (The Bard Music Festival)From Princeton University Press

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Camille Saint-Saëns and His World (The Bard Music Festival)From Princeton University Press

Camille Saint-Saëns--perhaps the foremost French musical figure of the late nineteenth century and a composer who wrote in nearly every musical genre, from opera and the symphony to film music--is now being rediscovered after a century of modernism overshadowed his earlier importance. In a wide-ranging and trenchant series of essays, articles, and documents, Camille Saint-Saëns and His World deconstructs the multiple realities behind the man and his music. Topics range from intimate glimpses of the private and playful Saint-Saëns, to the composer's interest in astronomy and republican politics, his performances of Mozart and Rameau over eight decades, and his extensive travels around the world. This collection also analyzes the role he played in various musical societies and his complicated relationship with such composers as Liszt, Massenet, Wagner, and Ravel. Featuring the best contemporary scholarship on this crucial, formative period in French music, Camille Saint-Saëns and His World restores the composer to his vital role as innovator and curator of Western music.

The contributors are Byron Adams, Leon Botstein, Jean-Christophe Branger, Michel Duchesneau, Katharine Ellis, Annegret Fauser, Yves Gérard, Dana Gooley, Carolyn Guzski, Carol Hess, D. Kern Holoman, Léo Houziaux, Florence Launay, Stéphane Leteuré, Martin Marks, Mitchell Morris, Jann Pasler, William Peterson, Michael Puri, Sabina Teller Ratner, Laure Schnapper, Marie-Gabrielle Soret, Michael Stegemann, and Michael Strasser.

  • Sales Rank: #1744645 in Books
  • Published on: 2012-08-26
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.20" h x 1.10" w x 6.00" l, 1.45 pounds
  • Binding: Paperback
  • 440 pages

Review
"This study of a versatile, tasteful and often endearing composer, and a serious, playful and sometimes prickly man, may be thoroughly recommended."--Classical Music Magazine

"This compilation of masterful scholarship is likely to become a preeminent source for information on Saint-Saëns."--Choice

"Jann Pasler's edited collection thus offers a significant contribution to Saint-Saens studies, and to the field of nineteenth- and early twentieth century French music as a whole."--Helen Abbott, French Studies

"[T]his book represents [quite an] achievement. Saint-Saëns is revealed and yet remains intensely private: the book speaks volumes on the composer's life, views, working methods, and cultural and social status."--Clair Rowden, H-France Review

About the Author
Jann Pasler is professor of music at the University of California, San Diego. Her books include Writing through Music: Essays on Music, Culture, and Politics and Composing the Citizen: Music as Public Utility in Third Republic France.

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7 of 7 people found the following review helpful.
wide ranging, detailed; better than a biography of this great composer
By John E. Drury
Princeton University Press has recently published twenty three (23) collections of scholarly writing on classical music composers and their world. This 400 page volume, devoted to Camille Saint Saens, comprises thirty eight (38) individual essays on this most fascinating French composer, who if he had not been known for his brilliant music compositions, would have been known as an extraordinary polymath, knowledgeable in science, a world traveler, an organist par excellence and a brilliant pianist. The subjects deal with Saint Saens' compositions, his writings, his acceptance in Germany, England and the United States, his performances worldwide, analysis of some of his better known works, his preeminent position as a French cultural leader straddling the centuries, his competition with Massenet and his influence on Ravel, Faure, Debussy and D'Indy. The contributors are French, German and American including Leon Botstein and D. Kern Holoman, the author of "The Orchestra, A Short Introduction." This is a welcome addition to anyone interested in Camille Saint Saens whether musicologist or lay person.

0 of 0 people found the following review helpful.
Five Stars
By Victor Coo
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~~ Download PDF Musorgsky, by Richard Taruskin

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Musorgsky, by Richard Taruskin

"It is [a] fully illuminated story that Richard Taruskin, in the path-breaking essays collected here, unfolds around Modest Musorgsky, Russia's greatest national composer.... [Taruskin's] tour de force comes with a frontal attack on all the Soviet-bred truisms that for a century have refashioned Musorgsky from what the evidence suggests he was--an aristocrat with an early clinical interest in true-to-life musical portraiture and a later penchant for drinking partners who were both folklore buffs and political reactionaries democrat."--From the foreword

Incorporating both new and now-classic essays, this book for the first time sets the vocal works of Modest Musorgsky in a fully detailed cultural, political, and historical context. From this perspective Richard Taruskin revises fundamentally the composer's historical and artistic image, in particular debunking the century-old dogmas of Vladimir Stasov, Musorgsky's first biographer. Here the author offers the most complete explanation of the revision of the opera Boris Godunov, compares it to contemporaneous operas by Chaikovsky and Rimsky-Korsakov, advances a revisionary characterization of Khovanshchina as an aristocratic tragedy informed by a pessimistic view of history, discusses Musorgsky's use of folklore, and, focusing on Sorochintsi Fair, brings to a climax his refutation of Musorgsky as a protorevolutionary populist. The epilogue is a survey of revisionary productions of Musorgsky's works at home during the Gorbachev era.

  • Sales Rank: #2905958 in Books
  • Brand: Brand: Princeton University Press
  • Published on: 1997-07-07
  • Released on: 1997-07-27
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x 1.14" w x 6.00" l, 1.40 pounds
  • Binding: Paperback
  • 449 pages
Features
  • Used Book in Good Condition

From Library Journal
As one of the outstanding musical scholars of his generation, Taruskin is notable for his regular contributions to the Sunday New York Times as well as to many periodicals, includng the New Republic. His appeal outside the academy is easy to explain: Aside from the sheer brilliance and originality of many of his insights, his lucid and witty prose is a pleaure to read. Here, Taruskin turns his attention to the 19th-century Russian nationalist composer Modest Musorgsky, with particuar emphasis on his vocal music, and the result is a compelling revisionist view. In particular, the received notion of Musorgsky as a rebellious, antiestablishment figure (traceable to his first biographer and highly congenial to Soviet ideology) is shown to be false. Recommended for large music collections.
- E. Gaub, Villa Maria Coll., Buffalo, N.Y.
Copyright 1993 Reed Business Information, Inc.

From Scientific American
The merit of Taruskin's essays lies in his clear, highly readable style, which constantly keeps the reader's interest.... A major achievement.

From The New Yorker
Richard Taruskin's ... book reaffirms his position as the preeminent American historian of Russian music. He is the scholar who pursues the `real Musorgsky' with beguiling zest, deep erudition, abiding philology, and thoroughly appropriate irreverence.

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1 of 1 people found the following review helpful.
Interesting essays about Modest Musorgsky
By jt52
America’s leading historian of Russian music, Richard Taruskin, collected ten essays about 19th-century composer Modest Musorgsky (1839-1881) in this 1993 publication. This volume will be of interest to specialist readers, not general ones. Points of interest are:

1) Taruskin extensively discusses and documents Musorgsky’s radical period in the 1860s, marked by populism, an attempt to integrate theater and popular speech rhythms in musical drama through the unfinished opera “The Marriage” and the long 15-minute song “The Puppet Show.”
2) How Musorgsky developed and moved away from the anti-melodic dramatics of this early period when he was a member of the “kuchka”, the “mighty handful”. Taruskin shows the growing melodic interest of the vocal writing in the composer’s major achievement, “Boris Godunov” and the almost-as-good “Khovanschina.” This is explored in a number of ways, including debunking the traditional musicological view of how the initial rejection of “Boris Gudonov” by the Imperial Theater in St. Petersburg forced Musorgsky into revising the opera. Taruskin instead shows the revision of “Boris” was in progress before the rejection, impelled by the composer’s changing dramatic and musical views rather than imposed by the Imperial Theater.
3) Ploughing through years of accumulated leftist and Soviet claims as to Musorgsky’s putative leftist populism, Taruskin goes straight to source documents to show that Musorgsky, born of an aristocratic family which lost its wealth in the emancipation of the serfs in 1861, was in fact a conservative supporter of the Tsar & the aristocracy, was quite anti-semitic even by the standards of his time, and in fact, though a drunk, exhibited the bred behavior of the aristocracy throughout his life.

Beyond these major themes, Taruskin explores the revisions in an early song (“Little Star”), the interest in historiography and the epoch of Ivan the Terrible among Russian writers and musicians in the middle of the 19th century, and the effect of Glasnost on views of Musorgsky within Russia. Taruskin’s scholarship is impressive and expert, with valuable research into primary sources.

I am rating the volume 4 stars instead of 5 because Taruskin does not deal in more than a cursory way with three important aspects of the Musorgsky legacy: the editorial changes to the operas made by Nikolai Rimsky-Korsakov (which Taruskin dispenses with by saying the subject has been covered elsewhere), the composer’s likely closeted homosexuality (discussed in a footnote) and last but not least the composer’s alcoholism, which led to the unproductivity of his later years and most likely his death. These all would be of vital interest to a general reader but the scholarly audience targeted by Taruskin presumably knows where to find out more about those topics. There is also an excessive intellectualization, so characteristic of academic writing, which concentrates on debates among the intelligentsia and aesthetic disputes about musico-dramatic principles instead of the main drivers of Musorgsky’s art and life: drink, shame, a fall from wealth and status to impoverished artistic obscurity, fears of compositional incompetence. While Taruskin is a sometimes witty writer, some of the text is plodding while also being unclear in the particulars and unclear on larger points: for example, Taruskin’s interpretation of politics in the revision of Boris is confusing and in my humble view overinterpreted. General readers are more likely to profit from David Brown’s “Musorgsky” (in the Oxford Master Musicians series), but more specialized readers who are exploring Russian music in depth will learn much from Taruskin’s fine effort.

6 of 6 people found the following review helpful.
Mighty Musorgsky
By MG
Before I'll make some critical notions on this book I have to confess how much I enjoyed reading this book. This book, like the other books by Taruskin is academic literature at its best. Not only profound, detailled and knowledgable but also driven by curiosity and passionate interest in his subject. And I wouldn't even consider my objections against many of his assumptions as something to be put against this book. I prefer being confronted with some controversial theories to boring middle of the road literature.

Already the title of the introduction "Who Speaks for Musorgsky?" made me a little resentful and is somehow symptomatic for the case Musorgsky. Why is it that everybody feels invited to either speak for him or school him like a dependent boy? Balakirev, Cui and Rimsky did, and even his friends and supporters Stasov and Kutuzov loved to do it. Taruskin decided that Kutuzov speaks more for Musorgsky than Stasov since this fits better to his revisionist thesis. The truth is that they all first speak for themselves. Stasov projects his revolutionary ideas on him like Kutuzov his reactionary aristocratic ideals. Cui wants to demonstrate his intellectual and Rinsky his technical superiority. And of course the soviet propaganda used him for their prposesas well. I would say that even the Musorgsky of the letters is not always speaking for Musorgsky since his hypersensitive and conflict avoiding character often made him write rather what his addresser wanted to hear than what he really thought. The only thing that speaks truthfully for Musorgsky is his music.

The underlying thesis of this book or at least some chapters (the book is a selection of essays written at different times and occasions) is, as already hinted in the introduction, that Musorgsky was only a revolutionary in the early years of the "Marriage" and the "Ur-Boris" but became more and more conventional not to say reactionary already with the revision of Boris. I completely agree with the observation that there is this change from a more recitative dialogue style to more coherent musical entities. But to say one thing is the right way the other the false (compromising) way is a little bit too simple for my taste.

Not only that other composers made this experience as well that the recitative style has its limiations. Wagner turned back after the "Rheingold" which represents his theory of Leitmotivtechnik in the purest form. Debussy wanted to overcome his loose Pelleas style in his planned (but unfortunately never realized) later opera projects. And also Ravels two small operas reflect this experience.

The Ur-Boris definitely has its merits and is by no means defective. However, the additions of the revision process, mainly the "Polish act" and the "Kromy scene", may not be necessary for the plot, but are much more than just giving in to opera conventions. They add new dimensions to the epic feel of the opera. Besides that I would not want to miss the fountain scene, with its burst of emotions one of the magic moments of all opera history.

Especially when it comes to Khovanshchina Taruskin's thesis becomes awkward. There might be more pieces in this opera that look like an aria or a conventional choir scene than in Boris, but if you don't look at this opera with the eyes of a musicologist but experience it as a musical drama you must realize that it is much more radical and experimental (and therefore also much less popular) than Boris Godunov. Its atmosphere is completely different. Boris has this young hero and the element of upheaval and despite some pessimistic undertones it shows (especially in the second act) a relatively intact world while Khovanshchina lacks all idealistic appeal. It is a dark, rotten, pessimistic world close to Shakespeare's late plays (I always felt a strong connection especially to Macbeth). It speaks for Musorgsky's instinkt that he couldn't just continue composing in the good old Boris style. To consider this opera as a work of a reactionary only because there are princes as main characters is not convincing at all, as if the personnel would say anything about quality.

Taruskin sees a conflict in Musorgsky's personality between the progressive "democratic" side influenced by Stasov and the reactionist aristocratic side claimed by Kutusov. I don't really believe that this played a big role since Musorgsky didn't think in this kind of political categories. There are some interesting biographical similarities to Lev Tolstoi which might help understand some aspects of Musorgskys character. Like Tolstoi he was of aristocratic origins and had a happy previleged childhood. Like Tolsoi in his early novels also Musorgsky remembers this time with nostalgic fondness, namely in the song cycle "Nursery" and the second Boris act. Both welcomed the end of serfdom in Russia and went through a phase of idealizing the simple folks but then lost pretty much all illusions. Apart from that they were rather antipodes. Tolstoi was driven by a idealistic spirit and all of his works have some kind of message (although I think that the messages are rather a byproduct and not what makes his novels so great). Musorgsky was a sensualist and explorer of truth. He looks at the bottom of people's souls and created figures with complex characters. He was interested in people no matter of which rank and origin. The song cycle "Without sun" for example, deeply admired by Debussy, which Taruskin considers as self centered aristocratic whiny stuff, are psychograms of depression and decline (here another interesting link to some of Shakespeare's sonnets) and as such first of all human. There is a deep compassion for everybody, not only for the guilt marked Boris but also for the holy fool and even for characters like Andrej and Ivan Chovansky.

With such gifts Musorgsky was a born music dramatist and as a music dramatist he is a genius of the hightest rank. None of the operas by Rimsky and Tchaikovsky can compare with the dramatic power of Musorgsky. I would even go so far to estimate him as a dramatist (not as a composer) higher than Wagner. And even work like "Pictures of an exhibition" I would consider in nuce as a music dramatic work. I don't share the popular belief that if Musorgsky would have achieved more technical skills he would have been a even more important artist. People who think like that don't understand the dynamics of creativity. It might sound strange but Musorgsky's neglect of technical aspects and his tremendous expressive power are undividable.

2 of 3 people found the following review helpful.
Musorgsky Done Right
By William L. Harwood
Musorgsky has been the subject of a variety of interpretations for so long through many cultural regimes. Taruskin sets the record straight. The essays are all excellent in spite of the technical analysis at times, which is not a hindrance to the lay person. Most enjoyable is his essay on the origin and spelling of Musorgsky's name, another cultural puzzle solved. Now, how about a comprehensive overview of Russian musical history?

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Senin, 04 Agustus 2014

^ Get Free Ebook The Great Mother (Mythos Books), by Erich Neumann

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The Great Mother (Mythos Books), by Erich Neumann

The Great Mother (Mythos Books), by Erich Neumann



The Great Mother (Mythos Books), by Erich Neumann

Get Free Ebook The Great Mother (Mythos Books), by Erich Neumann

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The Great Mother (Mythos Books), by Erich Neumann

Neumann examines how the Feminine has been experienced and expressed in many cultures from prehistory to our own time. Appearing as goddess and demon, gate and pillar, garden and tree, hovering sky and containing vessel, the Feminine is seen as an essential factor in the dialectical relation of individual consciousness, symbolized by the child, to the ungraspable matrix, symbolized by the Great Mother.

  • Sales Rank: #581570 in Books
  • Brand: Brand: Princeton University Press
  • Published on: 1972-07-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.15" h x 6.02" w x 9.14" l, 1.83 pounds
  • Binding: Paperback
  • 432 pages
Features
  • Used Book in Good Condition

Review
"Neumann's creative intuition has enabled him to read in these records of the past a content and meaning that throws a beam of light on the psychological history of [hu]mankind."--Journal of Analytical Psychology

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6 of 6 people found the following review helpful.
A JUNGIAN PRESENTATION OF THE "ARCHETYPAL FEMININE" PRINCIPLE IN HISTORY
By Steven H Propp
Erich Neumann (1905-1960) was a psychologist, writer, and student of Carl Jung; he also wrote books such as The Origins and History of Consciousness (Bollingen Series, 42), Amor and Psyche (Mythos Books), The Fear of the Feminine, etc. He said in the Preface of this 1955 book, "In this book we have attempted a structural analysis of an archetype; we have striven to show its inner growth and dynamic, and its manifestation in the myths and symbols of mankind. Such an undertaking is one of the central needs of analytical psychology. For, in both a theoretical and practical sense, it is very hard for those who have not experienced the reality of the archetype by undergoing analysis to understand what depth psychology means by an archetype." (Pg. xlii)

He explains, "In our present attempt to portray the archetype of the Great Female with the help of texts and reproductions... Our illustrations of the timeless archetype will be drawn from all epochs and cultures. If we offend against 'history' by removing documents and representations from their cultural context, we hope to compensate by correlating our archetypal investigation with ... the stages in the development of the human psyche." (Pg. 89)

He states, "The term Great Mother, as a partial aspect of the Archetypal Feminine, is a late abstraction, presupposing a highly developed speculative consciousness. And indeed, it is only relatively late in the history of mankind that we find the Archetypal Feminine designated as Magna Mater." (Pg. 11) Later, he adds, "The Great Mother is the giver not only of life but also of death. Withdrawal of love can appear as a withdrawal of all the functions constituting the positive side of the elementary character." (Pg. 67)

He suggests, "The archetypal image of the Great Mother lives in the individual as in the group, in the man as well as the woman. When therefore we say that the matriarchal world precedes the partiarchal world, we are not referring to a sequence of sociological structures, such as that set up by Bachofen [see his Myth, Religion, and Mother Right." (Pg. 91) He states, "It was Briffault [see his The Mothers the Matriarchal Theory of Social Origins] who discovered the fact... that early culture is in very high degree the product of the female group, and that the relative sedentariness of the matriarchal community of mothers and children was bound to provide a biological, psychological, and sociological force for the 'ennoblement' of the original natural state." (Pg. 281)

He summarizes, "The Archetypal Feminine in man unfolds like mankind itself. At the beginning stands the primeval goddess, resting in the materiality of her elemental character, knowing nothing but the secret of her womb..." (Pg. 334) He concludes, "The Great Goddess... is the incarnation of the Feminine Self that unfolds in the history of mankind as in the history of every individual woman; its reality determines individual as well as collective life. This archetypal psychical world which is encompassed in the multiple forms of the Great Goddess is the underlying power that even today... determines the psychic history of modern man and modern woman." (Pg. 336)

This book will be of interest to those interested in Jungian psychology, as well as female antecedents in social history.

44 of 48 people found the following review helpful.
a must for mythology lovers
By A Customer
The Great Mother is an absolute must-have for anyone intersted in mythology, Jungian psychology or even literary analysis.
Part I is quite heavy in termonology and complex archtypal ideas; part II is more accessable and can be read and enjoyed without part I. As a feminist, I found it fascinating to learn about the different aspects of the goddess. I especially enjoyed the chapter called "Lady of the Beasts" which discusses the different animals associated with the Great Mother and their symbolic significance. Even if you don't subcribe to Jungian psychology, this book is a fascinating look into the human mind.
Finally, there's 185 pages of photographs and drawings at the end of the book -- fascinating to thumb through!

16 of 20 people found the following review helpful.
A masterpiece of mythologic imagination
By Felix Gerenabarrena
Neumann's book is really a masterpiece. I reccomend reading it after The origins and history of consciousness, where he traces the evolution of the male archetype. Neumann was probably the most freudian of all Jungian disciples. He also introduced some variations in the jungian theories. For example, he stated (read the first chapter of the great mother) that the archetype of the hero represents the evolution of consciousness and the great mother the evolution of the unconscious. This is a somehow different view from Jung's contrasexual identities. Neumann's effort in the great mother is so huge that deserves a place of privilege in the litterature of mythological interpretations. Though I think it is important not to read it literally, but symbolically, letting the images inspire your imagination.

Though today other jungians, and especially Hillman get the honors of scholars and psychologists alike, Neumann's systematic work is an invaluable resource that preluded in the jungian field later discoveries in the freudian school such as those of Balint, Winnicott or Margaret Mahler.

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Minggu, 03 Agustus 2014

> Download Two Cheers for Anarchism: Six Easy Pieces on Autonomy, Dignity, and Meaningful Work and Play, by James C. Scott

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Two Cheers for Anarchism: Six Easy Pieces on Autonomy, Dignity, and Meaningful Work and Play, by James C. Scott



Two Cheers for Anarchism: Six Easy Pieces on Autonomy, Dignity, and Meaningful Work and Play, by James C. Scott

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Two Cheers for Anarchism: Six Easy Pieces on Autonomy, Dignity, and Meaningful Work and Play, by James C. Scott

James Scott taught us what's wrong with seeing like a state. Now, in his most accessible and personal book to date, the acclaimed social scientist makes the case for seeing like an anarchist. Inspired by the core anarchist faith in the possibilities of voluntary cooperation without hierarchy, Two Cheers for Anarchism is an engaging, high-spirited, and often very funny defense of an anarchist way of seeing--one that provides a unique and powerful perspective on everything from everyday social and political interactions to mass protests and revolutions. Through a wide-ranging series of memorable anecdotes and examples, the book describes an anarchist sensibility that celebrates the local knowledge, common sense, and creativity of ordinary people. The result is a kind of handbook on constructive anarchism that challenges us to radically reconsider the value of hierarchy in public and private life, from schools and workplaces to retirement homes and government itself.

Beginning with what Scott calls "the law of anarchist calisthenics," an argument for law-breaking inspired by an East German pedestrian crossing, each chapter opens with a story that captures an essential anarchist truth. In the course of telling these stories, Scott touches on a wide variety of subjects: public disorder and riots, desertion, poaching, vernacular knowledge, assembly-line production, globalization, the petty bourgeoisie, school testing, playgrounds, and the practice of historical explanation.

Far from a dogmatic manifesto, Two Cheers for Anarchism celebrates the anarchist confidence in the inventiveness and judgment of people who are free to exercise their creative and moral capacities.

  • Sales Rank: #176849 in Books
  • Published on: 2014-03-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.55" h x .55" w x 6.08" l, .0 pounds
  • Binding: Paperback
  • 200 pages

Review
"In a new book, Two Cheers for Anarchism, James C. Scott, a highly regarded professor of anthropology and political science at Yale, commends anarchism precisely for its 'tolerance for confusion and improvisation.'. . . Two Cheers for Anarchism conducts a brief and digressive seminar in political philosophy, starting from the perspective of the disillusioned leftist."--Kelefa Sanneh, New Yorker

"With the 'A' on its covered circled in red, Two Cheers might at first appear to be preaching to the converted, but in fact it's an attempt to explain and advocate for an anarchist perspective to a readership not already disposed to smash the state. . . . Touching all the familiar progressive touchstones along the way, Scott makes the case for everyday insubordination and disregard for the rules in pursuit of freedom and justice."--Malcolm Harris, Los Angeles Review of Books

"[I]ntriguing."--Michael Weiss, Wall Street Journal

"Alternately insightful, inciteful, and insulting, Scott makes an idiosyncratically intellectual case that technocratic elites aren't to be trusted, and insubordination is a virtue to be cherished. . . . Two Cheers for Anarchism deserves more than two cheers in review because Scott usefully expands the vocabularies that leaders and managers need to have around the critical issues of power, control, and resistance. Every effective leader I know loses sleep over how best to empower their talent and constructively align their people. And all the successful leaders I know--especially the entrepreneurs--have at least a little streak of anarchism--of creative destruction--inside of them. For this reason alone, they will find Scott's insights and incites worth their time."--Michael Schrage, Fortune

"Scott selects wonderful anecdotes to illustrate his tribute to the anarchist way of seeing the world, his prose is always on the verge of breaking into a smile. Political theory rarely offers so much wry laughter."--Chris Walters, Acres USA

"[E]ngaging. . . . Scott's eye for spontaneous order in action demonstrates that anarchy is all around us: that it's no abstract philosophy but an essential part of all our lives."--Reason

"James C. Scott . . . has a new book just out: Two Cheers for Anarchism. I've just started reading it, but bits of it are so good that I just can't hold off blogging about them."--Bleeding Heart Libertarians blog

"Yale professor James C. Scott and Princeton University Press have recently published Two Cheers for Anarchism, an easy to read book that will help illuminate the concept of anarchism for anyone under misconceptions about the sophisticated ideology of anarchy. Rather than attempt to convince readers to join their local anarchist party, Scott's goal in writing Two Cheers for Anarchism is to make 'a case for a sort of anarchist squint' by relating anecdotes that demonstrate the fundamental ideas of anarchism."--Coffin Factory

"In Two Cheers for Anarchism James C. Scott . . . [makes the case] for a kinder, gentler form of rebellion than the sort of bomb-throwing, street-fighting revolution typically associated with anarchism."--Nick Gillespie, Wilson Quarterly

"The aspects of Scott's work that I have been able to examine . . . demonstrate that the typical left-right axis by which political positions are classified is seriously inadequate to the task of handling a thinker like Scott. His case against big government is going to appeal to libertarians. His demonstrations of the wisdom often contained in traditions and customs will be attractive to conservatives. And his concerns with lessening inequalities of wealth and power will be congenial to progressives. So where does he fit on the left-right axis? Nowhere, I'd say: he is his own man. And, setting aside its many other virtues, that alone makes this a book worth reading."--Gene Callahan, American Conservative

"In Two Cheers for Anarchism, James C. Scott, a professor of political science at Yale, takes a fresh and often bracing look at the philosophy espoused by (the Russian philosopher Mikhail) Bakunin and asks whether it may afford some clues as to how to proceed in the 21st century."--Richard King, Australian

"Written in a highly engaging series of what he calls 'fragments,' Scott's work links together a series of brief reflections on social cooperation in the absences of (or despite opposition from) hierarchy, tying such cooperation to a sense of autonomy, freedom, and human flourishing. . . . There is much of value in this short book and, hopefully, much that is inspirational."--Choice

"The book taken as a whole is a great leap forward and will form the basis of current and future engagements in political philosophy. In my own view, the book answers Noam Chomsky call for 'intellectual responsibility'; the responsibility to speak the truth and insist upon it."--Tawanda Sydesky Nyawasha, Symbolic Interaction

"Though Scott's kaleidoscope of touching stories, challenging thoughts and well-chosen examples is at all times diverting and often mind-blowing, this panoply of loose ideas remains connected to a strong underlying argument. He is radical but hardly polemical, utopian but deeply rooted to the ground."--Pascale Siegrist, Cambridge Humanities Review

"[A]ll readers, even those sympathetic to Scott's anarchist theme, will find themselves unsettlingly but usefully challenged by this beautifully written and argued book, especially by his call to pay more attention to the beliefs and actions of ordinary people and to avoid overly abstract theorizing that serves to aid centralized hierarchies and technocratic elites."--John A. Rapp, Review of Politics

"Two Cheers for Anarchism is an insightful contemplation of the everydayness of anarchism. . . . I can still recommend the book insofar is it casts some much needed light on the everydayness of anarchism, which is particularly important owing to the weight of Scott's name and the of clarity of his pen. Few authors are better positioned than Scott to render anarchist ideas more luminous and less threatening in the wider social sciences."--Simon Springer, Antipode

"Two Cheers for Anarchism is an unusual, affecting, and useful book. . . . The insights contained in this small volume are useful in addressing contemporary concerns about the post-political landscape as well as connecting with recent calls for autonomous geographies including alternative practices in organizing households, economies, and engagements with ecologies."--Stephen Healy, Antipode

From the Back Cover

"James Scott is one of the great political thinkers of our time. No one else has the same ability to pursue a simple, surprising idea, kindly but relentlessly, until the entire world looks different. In this book, he also demonstrates a skill shared by the greatest radical thinkers: to reveal positions we've been taught to think of as extremism to be emanations of simple human decency and common sense."--David Graeber, author of Debt: The First 5,000 Years

"Building on the insights of his masterful Seeing Like a State, James Scott has written a powerful and important argument for social organization that resists the twin poles of Big Corporations and Big Governments. In an age increasingly shaped by decentralized, bottom-up networks, Two Cheers for Anarchism gives timely new life to a rich tradition of political thought."--Steven Johnson, author of Where Good Ideas Come From: The Natural History of Innovation and Future Perfect: The Case for Progress in a Networked Age

"I am a big fan of James Scott. In this highly readable and thought-provoking book, he reveals the meaning of his 'anarchist' sensibility through a series of wonderful personal stories, staking out an important position and defending it in a variety of contexts, from urban planning to school evaluation. I don't know of anyone else who has defined this viewpoint so successfully."--Francis Fukuyama, author of The Origins of Political Order

"The ambition of this book is compelling and contagious. Combining the populist rhetoric of Thomas Paine with the ferocious satire of Jonathan Swift, James Scott makes a wonderfully simple and potent argument in favor of mutualism, creativity, local knowledge, and freedom. I predict that this will become one of the most influential books in political theory and public debate for the twenty-first century."--Georgi Derluguian, author of Bourdieu's Secret Admirer in the Caucasus

About the Author
James C. Scott is the Sterling Professor of Political Science, professor of anthropology, and codirector of the Agrarian Studies Program at Yale University. His books include Seeing Like a State: How Certain Schemes to Improve the Human Condition Have Failed; Domination and the Arts of Resistance: Hidden Transcripts; and most recently, The Art of Not Being Governed: An Anarchist History of Upland Southeast Asia. He is a fellow of the American Academy of Arts and Sciences and a mediocre part-time farmer and beekeeper.

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29 of 32 people found the following review helpful.
Six Easy Pieces a la Paul Goodman or Ivan Illich!
By Kevin Currie-Knight
Two Cheers for Anarchism is a book of "Six Easy Pieces" relating to the relation between human beings and the state. While Scott is quite a famous anthropologist for books like Seeing Like a State: How Certain Schemes to Improve the Human Condition Have Failed (The Institution for Social and Policy Studies at Yale University), these essays are more reflective and philosophical in nature. While there is certainly ideational overlap between SLaS and Two Cheers, the latter is mostly personal reflection that might best be called social criticism.

The first essay, one of my favorites, discusses the role of disobedience and working around rules as a method for social change. After all, a rule is only as good as people's willingess to abide by it (especially the fewer 'rulers' there are in relation to the 'ruled'). Scott starts with an example we all know: traffic lights and pedestrian crosswalks. When there and ware no cars coming, it is often normal to disregard the "don't walk" signal and walk across the road; we don't often think twice (or at least a third time) about that. And while rules do have a place (if we all went whenever we felt like, driving or crossing the street could be a nastier experience; particularly the busier the street), rule-breaking often has ITS place; rules, as rules, often leave no room for judgment or discretion, and sometimes, good judgment tells us not to follow a particular rule that we know is either needless, redundant, or immoral.).

As an educator, the chapter on The Production of Human Beings was particularly interesting. Largely, it was a meditation on current educational methods, focused on centralized design of educational experience, testing in a way that privileges the quantifiable, and (inadvertently?) teaching folks not to take charge of their own educational experiences, but to jump through the hoops others have crafted. In a way, this has a very individuality-reducing effect such that we are not 'creating' people so much as certain kinds of people. Scott doesn't get into any alternative vision of what schools or education should be - and this is one fault of the book; Scott does a lot of critique but doesn't develop many positive alternative visions - but I have a feeling that his educational views might align with those of Paul Goodman (Compulsory mis-education or Ivan Illich (Deschooling Society.

The fourth essay celebrating the "petite bourgeois" was very interesting. Scott's "thesis" is that anarchists (particularly those leaning toward some view of socialism) unjustly ignore the petite bourgeois - the independent artisan, small business owner, etc - and focus exclusively on the proletariat - the worker or day laborer. Why is this important? If the anarchist is concerned about people being independent and taking control of their lives, the petite bourgeois are those who are trying to find space to do just that. Yes, they may be part of the capitalist system that many anarchists (again, of the socialist-leaning kind) want to usher out, but the petite bourgeois are the ones best situated to wrestle power from the corporations that many believe have exacerbated inequality and created (employer/employee or producer/consumer) dependencies. (Again, Paul Goodman's writings, like Drawing the Line Once Again: Paul Goodman's Anarchist Writings are instructive here.)

I've already noted that Scott is more keen on critiquing existing structures than giving ideas about possible alternative structures. Some of that, I think, is inevitable when one's argument is that decentralization is preferable to centralization (as it is hard to argue a plan when one is arguing against central planning). An areas where I was definitely frustrated with Scott's vagueness is in his seeming ambivalence toward states. On one hand, he sees the state as having little or no role in social (planning, but on another, I wonder how comfortable Scott would be, say, with deregulating markets (such that government no longer mandates a minimmum wage, regulates wo)rkplace safety standards or product standards), etc. He already tells us that while he is against state intrusion into individual affairs, he is also quite skeptical of the free-market anarchism of those like Murray Rothbard For a New Liberty or (today) Gary Chartier Markets Not Capitalism: Individualist Anarchism Against Bosses, Inequality, Corporate Power, and Structural Poverty). If one is skeptical of governments, but equally skeptical of markets sans government, then one must be confident that removing governments will result in something other than distribution of goods and services by unregulated markets. Scott doesn't, in this book, make an argument as to what he sees that 'third way' as being. In that way, I see this book as a really interesting, but very incomplete case. Against governments, okay; but now what?

15 of 15 people found the following review helpful.
Fun, insightful, easy to read.
By Dave
This book is exactly what the much maligned topic of Anarchism needed.

Anarchism is often misunderstood and dismissed as a childish, thoughtless, and brutal idea by people who have never even taken the time to read the work of prominent Anarchist thinkers. Even those who take the time to look into these texts often end up discounting Anarchist ideals as naive and impractical for the modern world.

By keeping Anarchism at arms length rather than embracing it fully, Scott is able to highlight the more meaningful and practical aspects of Anarchist thought without the bother of having to defend every last value that has ever been labelled "Anarchist." The result is a thoughtful and intriguing look at our society through an "Anarchist lens." We are shown, not what some hypothetical Anarchist utopia might look like, but rather the many ways in which Anarchist values manifest themselves effectively in our world.

Dyed in the wool "Anarchists" might find this book to be far too light-handed, but readers who are reluctant to dive head-first into hardcore Anarchist ideology will find that Scott has written a wonderfully readable commentary on Anarchist values and their place in a state-ruled society.

6 of 6 people found the following review helpful.
A New Cookbook for Anarchists
By Norman A. Pattis
"[T]he great emancipatory gains for human freedom have not been the result of orderly, institutional procedures but of disorderly, unpredictable, spontaneous action cracking open the social order from below." Thus concludes James C. Scott's brief celebration of the joy and necessity of anarchism, Two Cheers for Anarchism, (Princeton University Press: Princeton, 2012).

Of course, Scott is right. Who foresaw the collapse of the Berlin Wall, the Arab Spring, the Occupy protests, or, most recently, the groundswell of popular protest in Brazil? When, one wonders, will the damn of restraint break in the United States to shatter what is rapidly becoming an economic caste system?

Scott is an unlikely proponent of anarchism. He's a tenured professor of political science and anthropology at Yale University. There's something counterintuitive about an academic preaching chaos. Isn't he the intellectual equivalent of a trust-fund baby - living free and easy off the unearned income of his university's generous endowment?

Such thinking reflects a misunderstanding of anarchism.

Anarchism is not disorder for disorder's sake. It is a rejection of the status quo as inadequate to meet the necessities of the time. It is the outcast forever and always challenging the orthodoxies of his time. It is the outsider saying to those confidently sharing the glow of inclusion: "Not so fast. There are things your ideals do not explain. Your rhetoric doesn't match the reality of my life." Anarchism is David saying to Goliath, "Do you feel my pain? No? Then feel this rock."

The great enemies of human freedom are the ideals and ideologies that seek to blind men and women to what they see all around them. Hence, we celebrate freedom in the United States while housing more men and women in prisons than any other nation on earth. We sing songs of equality while the rich get richer, and poor, well, they're just dropped from statistical reports - did you know that unemployment numbers reflect the number of folks looking work. Those who have dropped out don't count. They are our disappeared.

Listen to Scott describe the crayons politicians and mainstream journalists use to color over the rough edges of life: "The natural impulse to create a cohesive narrative to account for our own actions and lives, even when those lives and actions defy any coherent account, casts a retrospective order on acts that may have been radically contingent." In other words, we create the order we need by choosing to see what we report. The anarchist's voice is the demand of the powerless to be heeded. The anarchists "willingness to break the law [is] not so much a desire to sow chaos as a compulsion to instate a more just legal order," Scott writes. The anarchist is a shriek in a convent, protesting that solitary devotion to the holy comes at a profane cost.

Tired of the meaningless charade of Barack O'Bush and John Boehner, two squawk boxes pissing passed one another on the nightly news? "The brutal fact of routine, institutionalized liberal democratic politics is that the interests of the poor are largely ignored until and unless a sudden and dire crisis catapults the poor into the streets." The insiders see no reason to change the rule of the game so long as it works for them. It is only when the outsiders force issues that real change occurs. Decades of "trickle down" economics has yielded only huge deficits, plutocrats and corporations too big to fail. Take a drive through the Midwest sometime and see what's left of the middle class.

Scott's been a student of the dispossessed around the world for a scholarly lifetime, studying peasant resistance in Southeast Asia. The point of this little book is that anarchism has a role not just in what we used to call the Third World. The simple art of lifelong resistance to structures that do not work - "[q}uiet, unassuming, quotidian insubordination" - is becoming a necessary way of life in this the best of all possible worlds. You can bring a colossus to its knees by acts of "silent, dogged resistance, withdrawal and [the] truculence of ordinary people." This ordinary revolt can be more effective than revolutionary violence, he writes.

Is Edward Snowden a traitor? Perhaps to the ruling class. To many others he represents something else. He understood the rules of the game the state now plays in the name of security. But security for whom, and at what costs? Snowden stepped outside the restraint of the law to demonstrate a larger truth - the contempt of big government and big corporations for ordinary people. Did you see the angry mug of the NSA's General Keith Alexander boasting how the surveillance state had saved us from so many terrorists attacks? He looked like a hungover J. Edgar Hoover grousing about all the communists who are infiltrating our schools, the government, the movies, and, well ... the very space beneath our beds.

Scott's simple little book does much to rehabilitate anarchism. Forever and always there will be conflict between the individual and group. Watch any pack of animals and you'll see order break down from time to time, the outlier either brought to heel, or driven away. The human kind is no different; we're just more creative, and destructive, in how we go about satisfying the imperatives of survival. There will always be simmering discontent: Civilization is a work in progress. Anarchism is no more than the means by which ordinary force those in power to heed the voice of even the least advantaged. God save anarchism.

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Two Cheers for Anarchism: Six Easy Pieces on Autonomy, Dignity, and Meaningful Work and Play, by James C. Scott PDF
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^ Free Ebook Racial Culture: A Critique, by Richard T. Ford

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Racial Culture: A Critique, by Richard T. Ford

What is black culture? Does it have an essence? What do we lose and gain by assuming that it does, and by building our laws accordingly? This bold and provocative book questions the common presumption of political multiculturalism that social categories such as race, ethnicity, gender, and sexuality are defined by distinctive cultural practices.

Richard Ford argues against law reform proposals that would attempt to apply civil rights protections to "cultural difference." Unlike many criticisms of multiculturalism, which worry about "reverse discrimination" or the erosion of core Western cultural values, the book's argument is primarily focused on the adverse effects of multicultural rhetoric and multicultural rights on their supposed beneficiaries.

In clear and compelling prose, Ford argues that multicultural accounts of cultural difference do not accurately describe the practices of social groups. Instead these accounts are prescriptive: they attempt to canonize a narrow, parochial, and contestable set of ideas about appropriate group culture and to discredit more cosmopolitan lifestyles, commitments, and values.

The book argues that far from remedying discrimination and status hierarchy, "cultural rights" share the ideological presuppositions, and participate in the discursive and institutional practices, of racism, sexism, and homophobia. Ford offers specific examples in support of this thesis, in diverse contexts such as employment discrimination, affirmative action, and transracial adoption.

This is a major contribution to our understanding of today's politics of race, by one of the most distinctive and important young voices in America's legal academy.

  • Sales Rank: #3120679 in Books
  • Brand: Brand: Princeton University Press
  • Published on: 2006-08-06
  • Released on: 2006-08-06
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .62" w x 6.00" l, .80 pounds
  • Binding: Paperback
  • 248 pages
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  • Used Book in Good Condition

From Publishers Weekly
A serious work of legal scholarship about race that's innovative, bracing and funny? Stanford law professor Ford pulls it off in a surprising, rigorous volume that should send academics, legal professionals, civil rights activists and others dedicated to social justice racing for both sides of the barricades. Assembling a small library of case studies and legal research, along with relevant hypothetical scenarios, sophisticated analyses of popular culture and a careful dissection of multiculturalism, Ford makes a bold argument against the liberal emphasis on diversity and cultural rights from a position that is, as he puts it, "deep in the left wing of the palace." Ford argues that attempts to secure legal recognition for cultural difference—an African-American employee's right to wear her hair in cornrows, for instance—result in what he calls a "difference discourse" that is actually counterproductive, forcing minority groups to accept the very stereotypes they were trying to oppose by celebrating diversity. To counter this, Ford argues for greater "cosmopolitanism," wherein we promote "fluidity and movement through and between social distinctions and cultural practices." What keeps Ford's iconoclasm from becoming taxing is his refreshing irreverence: jokes abound about ironic postmodernists, civil rights for dog owners, the Log Cabin Republicans and his own fondness for a good martini. Agree with it or not, this book is an invigorating pleasure for thoughtful readers.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From The New Yorker
Ford, a law professor at Stanford, takes aim at the well-intentioned efforts to enshrine cultural differences in law—a black airline employee's right to wear a braided cornrow hair style, for instance—and suggests that they often push people "into displays of stereotypical group behavior" and into embracing the stereotype as their "authentic" identity. Ford is deliberately provocative and his arguments are ingenious, often funny, and sometimes remarkably personal. In contrast to the critical scrutiny he brings to bear on the identity-politics movement, he gives something of a free pass to the cosmopolitan ideals he favors. Disarmingly, though, he reassures us that—legal considerations aside—his sympathies are ultimately with the airline employee: "I think she should have been allowed to wear her braids."
Copyright © 2005 The New Yorker

Review
"Ford is deliberately provocative and his arguments are ingenious, often funny and sometimes remarkably personal."--The New Yorker

"A serious work of legal scholarship about race that's innovative, bracing and funny? Stanford law professor Ford pulls it off in a surprising, rigorous volume that should send academics, legal professionals, civil rights activists and others dedicated to social justice racing for both sides of the barricades. . . . Agree with it or not, this book is an invigorating pleasure for thoughtful readers."--Publishers Weekly

"Ford provides an alternative 'practice-based' definition of culture based on hybrid and emergent cultural traits, and offers ways in which antidiscrimination arguments can avoid the pitfalls of essentialism and ascribed social categories."--Choice

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11 of 11 people found the following review helpful.
A well-informed polemic
By Michael
Richard Ford is a law professor at Stanford, and his book "Racial Culture : A Critique" is a reaction to a particularly robust form of multiculturalism, which he terms "difference discourse." He takes the reader through a story where activists began to combat perceived white dominance by emphasizing the differences between Black and white culture. They didn't do a great job of seeing if the differences they were talking about (1) even existed or (2) were worth celebrating. And then the "difference discourse" took on a life of its own, holding Black people up to a racial authenticity test that would previously have been unheard of, and convincing white people that, yes, Blacks really were different than them. Worst of all, dishonest brokers, forced by the Supreme Court to show that "diversity" is so profound that it is a compelling state interest, now largely peddle this "difference discourse." A noble intention has become mired in its own logic.

The book is somewhat polemical, but it's well-informed and occasionally laugh-out-loud funny. It's quite personal and not written like a stale academic text. Despite the targets of his argument, the book is *not* a right-wing screed; on the contrary, it is steeped in classical liberalism. The emphasis on legal examples may not serve some readers more interested in broader social trends, but I found them interesting. It's definitely a good read for students of and citizens in modern multicultural societies.

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~~ PDF Ebook The Collected Papers of Albert Einstein, Volume 14 (English): The Berlin Years: Writings & Correspondence, April 1923-May 1925 (English Tra

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The Collected Papers of Albert Einstein, Volume 14 (English): The Berlin Years: Writings & Correspondence, April 1923-May 1925 (English Tra

In the almost one hundred writings and more than one thousand letters included in this volume, Einstein is revealed yet again as the consummate puzzler of myriad scientific problems as well as the invested participant in social and political engagements. He continues to explore the light quantum, whose reality is confirmed by new experiments, and to attempt to formulate a unified theory of gravitation and electromagnetism. He travels to South America, where he lectures widely on relativity, rejoins the International Committee on Intellectual Cooperation, and supports the idea of a European union. Einstein has a fourteen-month romantic relationship with his secretary, Betty Neumann, which ends in October 1924.

  • Sales Rank: #305188 in Books
  • Published on: 2015-03-22
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.81" h x 1.13" w x 7.86" l, .0 pounds
  • Binding: Paperback
  • 504 pages

About the Author
At the California Institute of Technology, Diana Kormos Buchwald is professor of history; József Illy, Ze'ev Rosenkranz, and Tilman Sauer are editors and senior researchers in history; and Osik Moses is associate editor.

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