This text explores the historical relationship of ideas, power and culture. Looking at several case studies, it analyses how the regnant ideology intertwines with power around the pivotal relationships that govern social labour.

This text explores the historical relationship of ideas, power and culture. Looking at several case studies, it analyses how the regnant ideology intertwines with power around the pivotal relationships that govern social labour.

Envisioning Media Power develops an original geographical perspective on the nature and exercise of power in the international television economy. It uses theories of political economy as the basis for a comparative empirical examination of the UK and New Zealand television markets, while closely considering these markets' respective relationships with the US market and its globally-influential media corporations. In fleshing out this geographical perspective, the book critically addresses the power to produce, reproduce, and extract profit from territorialized media markets. To understand such powers, the book examines processes of creation and dissemination of industry knowledge, structures of industry governance, and the locational characteristics of television's operational economy. Through its rigorous and creative combination of conceptual insights with empirical substance, Envisioning Media Power both illuminates the fabric of television's international space economy, and ultimately offers a unique theoretic argument - suggesting that power, knowledge and geography are inseparable not only from one another, but from the process of accumulation of media capital.

Rising inequality of income and power, along with recent convulsions in the finance sector, have made the search for alternatives to unbridled capitalism more urgent than ever. Yet few are attempting this task-most analysts argue that any attempt to rethink our social and economic relations is utopian. Erik Olin Wright's major new work is a comprehensive assault on the quietism of contemporary social theory. A systematic reconstruction of the core values and feasible goals for Left theorists and political actors, Envisioning Real Utopias lays the foundations for a set of concrete, emancipatory alternatives to the capitalist system. Characteristically rigorous and engaging, this will become a landmark of social thought for the twenty-first century.

The first fifty years of United States history was a period of seemingly endless possibility. With the birth of a new country during the age of revolutions came new religions, new literary genres, new political parties, temperance and abolitionist societies, and the expansion of print and marketing networks that would dramatically change the course of the century. Envisioning Scripture: Joseph Smith's Revelations in Their Early American Contexts brings together ten essays from leading scholars on the history of early American religion and print culture. Covering issues of gender, race, prophecy, education, scripture, real and narrative time, authority and power, and apocalypticism, the essays invite the reader--scholar, student, etc.--to expand their knowledge of early Mormon history by grasping more fully the American contexts that Mormonism grew out of. Contributors include Catherine A. Brekus, William Davis, Elizabeth Fenton, Kathleen Flake, Paul Gutjahr, Jared Hickman, Susan Juster, Seth Perry, Laura Thiemann Scales, and Roberto A. Valdeón.

This collection of essays was devised by the author to study how anthropology brought the study of complex societies and world systems in to its purview.

As a pastor and leaders, I have seen that most people are walking backwards into their futures! All their reference points about the future are usually drawn from the past. Envision with God turns you around to face what is ahead with God’s guidance. After all, aren’t all God’s promises in the future? The practice of “envisioning with God” will not only turn you to your future in God but give you something many Christians lack: an absolute certainty in recognizing the voice of God. A common practice, even among mature Christians, is seeking confirmation for something their Father God has told them. It is strange, to say the least, that a child would not recognize his or her father’s voice. This will no longer be a problem as one faithfully envisions with Father God. Envisioning with God erases the division between the marketplace and pulpit. You will discover that God doesn’t recognize this division. His desire is for unity. Too many Christians are schizophrenic in terms of their spiritual identities. This has weakened families, churches, businesses, communities, and nations. No such division should exist as the many of the powerful examples in the books testify. Envisioning with God in a simple and systematic way will change your life, causing you to face your future and recognize the voice of God. Envisioning will engage you in a day-to-day dialog with your Father, and unify the roles of your spiritual identity, propelling you to your destiny, facing forward into God’s promises.

The Reverend Howard Finster (1916Ð2001) was called the Òbackwoods William BlakeÓ and the ÒAndy Warhol of the South,Ó and he is considered the godfather of contemporary American folk and visionary art. This book is the first interpretive analysis of the intertwined artistic and religious significance of FinsterÕs work within the context of the American Òoutsider artÓ tradition. Finster began preaching as a teenager in the South in the 1930s. But it was not until he received a revelation from God at the age of sixty that he began to make sacred art. A modern-day Noah who saw his art as a religious crusade to save the world before it was too late, Finster worked around the clock, often subsisting on a diet of peanut butter and instant coffee. He spent the last years of his life feverishly creating his environmental artwork called Paradise Garden and what would ultimately number almost fifty thousand works of Òbad and nasty art.Ó This was visionary work that obsessively combined images and text and featured apocalyptic biblical imagery, flying saucers from outer space, and popular cultural icons such as Elvis Presley, Marilyn Monroe, Henry Ford, Mona Lisa, and George Washington. In the 1980s and 90s, he developed cult celebrity status, and he appeared in the Venice Biennale and on the Tonight Show. His work graced the album covers of bands such as R.E.M. and Talking Heads. This book explores the life and religious-artistic significance of Finster and his work from the personal perspective of religion scholar Norman Girardot, friend to Finster and his family during the later years of the artistÕs life. Ê

Elizabeth B. Schwall aligns culture and politics by focusing on an art form that became a darling of the Cuban revolution: dance. In this history of staged performance in ballet, modern dance, and folkloric dance, Schwall analyzes how and why dance artists interacted with republican and, later, revolutionary politics. Drawing on written and visual archives, including intriguing exchanges between dancers and bureaucrats, Schwall argues that Cuban dancers used their bodies and ephemeral, nonverbal choreography to support and critique political regimes and cultural biases. As esteemed artists, Cuban dancers exercised considerable power and influence. They often used their art to posit more radical notions of social justice than political leaders were able or willing to implement. After 1959, while generally promoting revolutionary projects like mass education and internationalist solidarity, they also took risks by challenging racial prejudice, gender norms, and censorship, all of which could affect dancers personally. On a broader level, Schwall shows that dance, too often overlooked in histories of Latin America and the Caribbean, provides fresh perspectives on what it means for people, and nations, to move through the world.

The »global« is permanently made and remade by how it is envisioned in political projects, in language, and in literature. Through a range of case studies, this book shows how practices of referring to the world actually constitute the global in its many facets. It aims to provide a sense in readers of how the global is not something »out there«, but that it is embedded in a wide range of the seemingly »everyday«. The contributions appeal to a readership from a background in Sociology, History, Political Science, Literary Studies, and Social Work.