By Roni Weinstein
This paintings goals to provide the wealth of fundamental files elating to marriage rituals in Jewish Italian groups - reaction, deepest letters, court docket protocols, defamating books, love tales, fabric gadgets - and position them in historic context.
Read or Download Marriage Rituals Italian Style: A Historical Anthropological Perspective on Early Modern Italian Jews PDF
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Extra info for Marriage Rituals Italian Style: A Historical Anthropological Perspective on Early Modern Italian Jews
In Mikhail Bakhtin’s terms, culture is always polyglot, polyphonic. 53 The importance of the novel’s style, according to Bakhtin, lies in its ability to reflect the plurality of language and its modes of use, as well as the basic feelings manifest in its various layers and dialects. Language, like culture, is not one. It allows the coexistence of different, and sometimes contradictory, variations, while engaged in a struggle for supremacy, and through cooperation between various dialects. 54 His critique of the social sciences and of sociology’s guiding cultural models is part of the European philosophical tradition during the first half of the twentieth century (particularly Ludwig Wittgenstein55 and others, such as Martin Heidegger and Maurice Merleau-Ponty), as well as Marxist trends.
Critics of this approach have accused Braudel and his followers of preserving, in a structuralist manner, only the fundamental constructs of culture, which do not allow great historical figures, or even the “common person,” to act according to their will, forcing them instead to play a preset, minor role. In order to avoid ignoring the importance of shorter events, Braudel suggested measuring the development of history by means of three clocks: (1) A clock of long term historical continuity, sometimes lasting hundreds of years or more.
51 See Benjamin Z. , Studies in the History of Popular Culture (in Hebrew), ( Jerusalem: Zalman Shazar Center, 1996), 6–11. In this volume, see also Esther and Robert Cohen, “Popular and Elite Culture: An Illusory Contrast,” 13–30. See 28 further, claiming that “popular culture” as a separate body is a fabrication of small social groups seeking to change the cultural atmosphere. For this purpose, they invent a fictitious enemy, over which they wield power and social control. They create a cultural construct that perceives the whole of mass culture as an entity bereft of historical dimensions, which has preserved the same features since time immemorial.