Cultures in Motion
Within the wide-ranging and leading edge essays of Cultures in movement, a dozen amazing historians provide new conceptual vocabularies for realizing how cultures have trespassed throughout geography and social house. From the ameliorations of the meanings and practices of charity in the course of past due antiquity and the transit of clinical wisdom among early smooth China and Europe, to the fusion of Irish and African dance kinds in early nineteenth-century long island, those essays stick with a wide range of cultural practices during the lens of movement, translation, itinerancy, and trade, extending the insights of transnational and translocal history.
Cultures in movement demanding situations the idea of mounted, good cultural platforms via exhibiting that cultural practices have continually been relocating, crossing borders and destinations with frequently mind-blowing influence. The essays provide remarkable examples from early to trendy instances of intrusion, translation, resistance, and version. those are histories the place nothing--dance rhythms, alchemical formulation, musical practices, feminist aspirations, stitching machines, streamlined metals, or exertions networks--remains desk bound.
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In its last chapter, Lina lies in bed, indulging in self-pity, yet at the same time submitting to her own murder by swallowing the poisoned draught Johnnie gives her: Lina ﬂung herself down among the pillows. Let him then! Quickly! If Johnnie could do that, Lina no longer wanted to live. She burst into a torrent of sobbing. No, it was impossible. Johnnie could not be going to kill her. Not Johnnie […]. At any moment Johnnie might come in—break the door down and kill her in her own bedroom: throw her out of the window on to the ﬂagstones below and say she had fallen—anything.
Women give in, but it’s a ﬂeeting pleasure; Once satisﬁed, it ceases to be. 14 Curiosity is coded as a feminine trait, one that has its ‘attractions’, not the least of which is the ‘pleasure’ it provides. The moral encapsulates a concise cost–beneﬁt analysis, pointing out that the high price for satisfying curiosity never compensates for the small dose of pleasure afforded by it. Restraint, constructed as the product of reason and logic, is consequently affiliated with the authority of the male narrator, who has marked its opposite as a supremely feminine trait.
L. Austin termed ‘performative language’ in his landmark work How To Do Things with Words. 19 Think of the Grimms’ Cinderella, who tells a tree to shake its leaves and produce silver and gold and—no sooner said than done— the dress is hers to wear to the ball. Or the Goose Girl, in the tale of that title, who invokes the winds, conjuring them to blow away the hat of the boy annoying her. Her words too are translated into action. Nearly all the fairy-tale transformations from man into beast derive from a curse, and, in many cases, wish-fulﬁlment requires only words rather than caps and wands.