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Michael Billig presents a major challenge to orthodox conceptions of nationalism in this elegantly written book. While traditional theorizing has tended to the focus on extreme expressions of nationalism, the author turns his attention to the everyday, less visible forms which are neither exotic or remote, he describes as `banal nationalism′. The author asks why people do not forget their national identity. He suggests that in daily life nationalism is constantly flagged in the media through routine symbols and habits of language. Banal Nationalism is critical of orthodox theories in sociology, politics and social psychology for ignoring this core feature of national identity. Michael Billig argues forcefully that wi

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Michael Billig presents a major challenge to orthodox conceptions of nationalism in this elegantly written book. While traditional theorizing has tended to the focus on extreme expressions of nationalism, the author turns his attention to the everyday, less visible forms which are neither exotic or remote, he describes as `banal nationalism′. The author asks why people do not forget their national identity. He suggests that in daily life nationalism is constantly flagged in the media through routine symbols and habits of language. Banal Nationalism is critical of orthodox theories in sociology, politics and social psychology for ignoring this core feature of national identity. Michael Billig argues forcefully that wi

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Contemporary culture is haunted by its media. Yet in their ubiquity, digital media have become increasingly banal, making it harder for us to register their novelty or the scope of the social changes they have wrought. What do we learn about our media environment when we look closely at the ways novelists and filmmakers narrate and depict banal use of everyday technologies? How do we encounter our own media use in scenes of waiting for e-mail, watching eBay bids, programming as work, and worrying about numbers of social media likes, friends, and followers?Zara Dinnen analyzes a range of prominent contemporary novels, films, and artworks to contend that we live in the condition of the “digital banal,” not noticing the affective and political novelty of our relationship to digital media. Authors like Jennifer Egan, Dave Eggers, Sheila Heti, Jonathan Lethem, Gary Shteyngart, Colson Whitehead, Mark Amerika, Ellen Ullman, and Danica Novgorodoff and films such as The Social Network and Catfish critique and reveal the ways in which digital labor isolates the individual; how the work of programming has become an operation of power; and the continuation of the “Californian ideology,” which has folded the radical into the rote and the imaginary into the mundane. The works of these writers and artists, Dinnen argues, also offer ways of resisting the more troubling aspects of the effects of new technologies, as well as timely methods for seeing the digital banal as a politics of suppression. Bridging the gap between literary studies and media studies, The Digital Banal recovers the shrouded disturbances that can help us recognize and antagonize our media environment.

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Paperback. France, officially, is a secular nation. Yet Catholicism is undeniably a monumental presence, defining the temporal and spatial rhythms of Paris. At the same time, it often fades into the background as nothing more than heritage. In a creative inversion, Elayne Oliphant asks in The Privilege of Being Banal what, exactly, is hiding in plain sight? Could the banality of Catholicism actually be a kind of hidden power? Exploring the violent histories and alternate trajectories effaced through this banal backgrounding of a crucial aspect of French history and culture, this richly textured ethnography lays bare the profound nostalgia that undergirds Catholicisms circulation in nonreligious sites such as museums, corporate spaces, and political debates. Oliphants aim is to unravel the contradictions of religion and secularism and, in the process, show how aesthetics and politics come together in contemporary France to foster the kind of banality that Hannah Arendt warned against: the incapacity to take on another persons experience of the world. A creative meditation on the power of the taken-for-granted, The Privilege of Being Banal is a landmark study of religion, aesthetics, and public space. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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American painter Roy Lichtenstein (1923–1997) pioneered a new epoch in American art, bursting onto a scene dominated by Abstract Expressionism in late 1950s New York and defining a new art vocabulary for a new era.With his groundbreaking use of industrial production techniques and trivial, quotidian imagery such as cartoons, comic strips, and advertising, Lichtenstein joined contemporaries such as Andy Warhol and James Rosenquist to reflect and satirize American mass media and consumer culture. Works such as Look, Mickey! (1961), Drowning Girl (1963), and Whaam! (1963) deployed mass production techniques, particularly Ben-Day dots printing, to create a blow-up effect and pixelated “dot” style, with which Lichtenstein has become synonymous.This book provides an essential overview of Lichtenstein’s career, tracing his earliest Pop statements through to later “brushstroke” retorts to Abstract Expressionism and reinterpretations of modern masterpieces. We look at his leading position in midcentury modernism, and the ways in which his works both critique and chronicle 20th-century America.

With more than 230 million international tourists a year, the Mediterranean region is the largest tourist destination in the world. This book outlines that its economic importance is matched by its significance as a cultural and aesthetic phenomenon. Through a series of ethnographic insights into some of the key sites of mass Mediterranean tourism, it focuses on package tourists' experiences of the serial, banal and depthless spaces that are mushrooming along the coast and the enchantments, dissolutions and dreams that saturate them. Moving away from the notion of authentic places corrupted by mass tourism, the book shows how new forms and spaces are made and remade by the mobilities and performances of locals, workers and tourists. Finally, the book looks at the complex materialities of mass tourism and the many networks that make it possible.

With more than 230 million international tourists a year, the Mediterranean region is the largest tourist destination in the world. This book outlines that its economic importance is matched by its significance as a cultural and aesthetic phenomenon. Through a series of ethnographic insights into some of the key sites of mass Mediterranean tourism, it focuses on package tourists' experiences of the serial, banal and depthless spaces that are mushrooming along the coast and the enchantments, dissolutions and dreams that saturate them. Moving away from the notion of authentic places corrupted by mass tourism, the book shows how new forms and spaces are made and remade by the mobilities and performances of locals, workers and tourists. Finally, the book looks at the complex materialities of mass tourism and the many networks that make it possible.

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Crisscrossing a suburban landscape of a bright starkness that succeeds in bringing together Francis Bacon and David Hockney (The New York Times), a seemingly disturbed hitchhiker compulsively quizzes her drivers on the most banal and personal subjects. "I'm not too lazy to eat," insists one of the hitcher's corpulent benefactors, and it's this sincerely oddball morality that graces each of Dog Days's tableaus. In the tomblike quiet of their ranch-style purgatory, a divorced husband and wife figh

Crisscrossing a suburban landscape of a bright starkness that succeeds in bringing together Francis Bacon and David Hockney (The New York Times), a seemingly disturbed hitchhiker compulsively quizzes her drivers on the most banal and personal subjects. "I'm not too lazy to eat," insists one of the hitcher's corpulent benefactors, and it's this sincerely oddball morality that graces each of Dog Days's tableaus. In the tomblike quiet of their ranch-style purgatory, a divorced husband and wife figh

Considered the first Chinese artist to work in video, Zhang Peili (b. 1957) manipulates perspective, close-ups, and framing to create astonishing recordings of banal repeated actions, such as breaking glass, reading, washing, shaving, and blowing bubble gum. He is a pioneering figure, experimenting with a video camera in the late 1980s, exploring digital formats in the early 2000s, and developing large-scale, immersive scenes today. Despite Zhang’s pivotal role in the global history of video art, his oeuvre has received relatively little attention. This book, which includes insightful essays, color plates, and an illustrated chronology, is one of the few in-depth explorations in English of this important artist’s work. 

Heinrich Himmler was an unremarkable looking man. Yet he was Hitler's top enforcer, in charge of the Gestapo, the SS, and the so-called Final Solution. We can only wonder, as biographer Peter Longerich asks, how could such a banal personality attain such a historically unique position of power? How could the son of a prosperous Bavarian Catholic public servant become the organizer of a system of mass murder spanning the whole of Europe?In the first comprehensive biography of this murderous enigma, Longerich answers those questions with a superb account of Himmler's inner self and outward acts. Masterfully interweaving the story of Himmler's personal life and political career with the wider history of the Nazi dictatorship, Longerich shows how skillfully he exploited and manipulated his disparate roles in the pursuit of his far-reaching and grandiose objectives. Himmler's actual strength, he writes, consisted in redrawing every two or three years the master plans for his sphere of power. Himmler expanded that sphere with ruthless efficiency. In 1929, he took the SS-a small bodyguard unit-and swelled it into a paramilitary organization with elite pretensions. By the end of 1934 he had become Reich Chief of the Political Police, and began to consolidate all police power in his own hands. As Germany grabbed neighboring territory, he expanded the Waffen SS and organized the "Germanization" of conquered lands, which culminated in systematic mass murder. When the regime went on the defensive in 1942, Himmler changed his emphasis again, repressing any opposition or unrest. The author emphasizes the centrality of Himmler's personality to the Nazi murder machine-his surveillance of the private lives of his men, his deep resentments, his fierce prejudices-showing that man and position were inseparable. Carefully researchedand lucidly written, Heinrich Himmler is the essential account of the man who embodied Hitler's apparatus of evil.

Dietrich Bonhoeffer writes in one of his last prison letters that he had "come to know and understand more and more the profound this-worldliness of Christianity" In Taking Hold of the Real, Barry Harvey engages in constructive conversation with Bonhoeffer, contending that the "shallow and banal this-worldliness" of modern society is ordered to a significant degree around the social technologies of religion, culture, and race. These mechanisms displace human beings from their traditional connections with particular locales, and relocate them in their "proper places" as determined by the nation-state and capitalist markets. Christians are called to participate in the profound this-worldliness that breaks into the world in the apocalyptic action of Jesus Christ, a form of life that requires discipline and an understanding of death and resurrection. The church is a sacrament of this new humanity, performing for all to hear the polyphony of life that was prefigured in the Old Testament and now is realized in Christ. Unable to find a faithful form of this-worldliness in wartime Germany, Bonhoeffer joined the conspiracy against Hitler, a decision aptly contrasted with a small French church that, prepared by its life together over many generations, saved thousands of Jewish lives.

Amid the cacophony of today's young American photographers, it is increasingly rare to hear a voice that stands out for its silence. Such is the case with Susan Paulsen, whose work invests banal quotidian situations with a quiet poetic intensity: tomatoes ripening on a porch, a cat sitting by a screen door staring out at nothing, laundry drying on a line and moving like agitated ghosts in the wind. Like tiny gems, Paulsen's small, lyrical photographs glimmer with a silvery luminosity, drawing us inward to a private, dreamlike world. Her work perpetuates a certain tradition in American photography, from Robert Frank's melancholic views to Harry Callahan's highly personal snapshots of his wife and daughter. Like Callahan, Paulsen employs restricted, personal means to translate her emotions using evocative visual situations. In the artist's own words, "More like my heart than my eyes, the camera has enabled me to express what I feel rather than what I see."

Winner of the Joseph Levenson Post-1900 Book PrizeThis cultural study of public space examines the cityscape of Taipei, Taiwan, in rich descriptive prose. Contemplating a series of seemingly banal subjects―maps, public art, parks―Joseph Allen peels back layers of obscured history to reveal forces that caused cultural objects to be celebrated, despised, destroyed, or transformed as Taipei experienced successive regime changes and waves of displacement. In this thoughtful stroll through the city, we learn to look beyond surface ephemera, moving from the general to the particular to see sociocultural phenomena in their historical and contemporary contexts.Watch the book trailer: https://www.youtube.com/watch?v=xBdGIoox7zM

The word 'philosophy' as well as the conjuring expression 'Indian philosophy' has meant different things to different people-endeavours and activities, old and new, grave and frivolous, edifying and banal, esoteric and exoteric. In this book, the author has chosen deliberately a very dominant trend of the classical (Sanskrit) philosophical literature as his subject of study. The age of the material used here demands both philological scholarship and philosophical amplification. Classical pramanasastras usually deal with the theory of knowledge, the nature of inference and language, and the related questions of ontology and semantics. Several important concepts and theories have been singled out for critical analysis and clarification in modern terms so that the results may be intelligible to modern students of both Sanskrit and philosophy. It is hoped that such attempt will kindle the enthusiasm of young scholars in the field and inspire them to proceed in this comparatively new area of research and explore into further and more interesting possibilities.