Comfort is a prominent and highly loaded concept, as popular discourses on cosy environments, safe spaces, but also the importance of ›getting out of your comfort zone‹ attest. This volume is the first to investigate ›comfort‹ as a cultural narrative and emotional touchstone in contemporary culture. Taken together, the contributions to the volume offer an overview of different approaches to and conceptualisations of comfort in linguistics, in literary, media, and cultural studies, and art history. They showcase how ›comfort‹ serves as a valuable lens to analyse contemporary artworks and developments, e.g. live theatre broadcasting or political interventions in the US-American media sphere.

To be comfortable stands as an aspiration of the times; to be comfortable defines what it means to live ‘the good life’. We talk about such things as maintaining a comfortable home, a comfortable lifestyle and a comfortable retirement. We seek out comforts in the relationships we sustain, the leisure practices we enact and the possessions we accumulate. We look for promises of comfort in the words of a close friend and our next pair of shoes. Furnished in the home, optionally outfitted in cars, scrutinised in holiday brochures and brushed up against in the clothes we wear, comfort is there, marking distinctions and framing decisions about what it means to live well. But by consuming comfort in the ways that we do, we do ourselves harm and limit our only planet of its capacity to provide for the requirements of life. This is a world that grows ever more uncomfortable because of comfort and when linked to consumption and excess, indulgence and apathy, it occurs that comfort carries effects that have existential consequence. Utilising analyses of popular culture and ethnographic accounts of everyday life, Comfort and Contemporary Culture works through case study accounts of comfort’s enactment to pose questions around what it means to live, now. Comfort and Contemporary Culture poses alternative renderings of the idea of comfort to return the concept to its earliest roots in notions of confortāre. The revisioning of what we take as comfort requires urgent attention, with the ecological, social and intrapersonal implications of comfort’s current excesses demonstrative of this need. This book will be relevant reading for students and scholars of cultural studies and sociology, cultural anthropology, social geography and studies of community.

Utilising analyses of popular culture and ethnographic accounts of everyday life, Comfort and Contemporary Culture works through case study accounts of comfort's enactment to pose questions around what it means to live, now.

To be comfortable stands as an aspiration of the times; to be comfortable defines what it means to live the good life'. We talk about such things as maintaining a comfortable home, a comfortable lifestyle and a comfortable retirement. We seek out comforts in the relationships we sustain, the leisure practices we enact and the possessions we accumulate. We look for promises of comfort in the words of a close friend and our next pair of shoes. Furnished in the home, optionally outfitted in cars, scrutinised in holiday brochures and brushed up against in the clothes we wear, comfort is there, marking distinctions and framing decisions about what it means to live well. But by consuming comfort in the ways that we do, we do ourselves harm and limit our only planet of its capacity to provide for the requirements of life. This is a world that grows ever more uncomfortable because of comfort and when linked to consumption and excess, indulgence and apathy, it occurs that comfort carries effects that have existential consequence. Utilising analyses of popular culture and ethnographic accounts of everyday life, Comfort and Contemporary Culture works through case study accounts of comfort's enactment to pose questions around what it means to live, now. Comfort and Contemporary Culture poses alternative renderings of the idea of comfort to return the concept to its earliest roots in notions of confortre. The revisioning of what we take as comfort requires urgent attention, with the ecological, social and intrapersonal implications of comfort's current excesses demonstrative of this need. This book will be relevant reading for students and scholars of cultural studies and sociology, cultural anthropology, social geography and studies of community.

In this compelling interdisciplinary study, Elizabeth Klaver considers how autopsies are performed in a variety of contexts, from the "real" thing in hospitals and county morgues to various depictions in paintings, novels, plays, films, and television shows. Autopsies can serve a variety of pedagogical, legal, scientific, and social functions, and the autopsied cadaver, Klaver shows, has lately become one of the most spectacular bodies offered up to the public on film, television, and the Internet. Setting her discussion within the history of the modern autopsy, and including the narrative of her own attendance at a medical autopsy, Klaver makes the autopsy readable in a number of diverse venues, from Rembrandt's The Anatomy Lesson and Vesalius's Fabrica to The Silence of the Lambs, The X-Files, and CSI. Moving from the actual autopsy itself to its broader symbolic ramifications, Klaver addresses questions as disparate as the social constructedness of the body, the perception and treatment of death under late capitalism, and the ubiquity of paranoia in contemporary culture.

Everyday theology is the reflective and practical task of living each day as faithful disciples of Jesus Christ. In other words, theology is not just for Sundays, and it's not just for professional theologians. Everyday Theology teaches all Christians how to get the theological lay of the land. It enables them to become more conscious of the culture they inhabit every day so that they can understand how it affects them and how they can affect it. If theology is the ministry of the Word to the world, everyday theologians need to know something about that world, and Everyday Theology shows them how to understand their culture make an impact on it. Engaging and full of fresh young voices, this book is the first in the new Cultural Exegesis series.

Including contributions from senior scholars in the field who do not rely on the paradigm of planetary Sociology, this volume of Current Perspectives in Social Theory illustrates the importance of scrutinizing links between individual identity and social structure, without employing the paradigm of planetary sociology.

Furniture is a unique witness to the transformations of private and public experience amidst the upheavals of the 20th century. How we work, rest and play are determined by the embodied encounter with furniture, defining and projecting a sense of identity and status, responding to and exemplifying contrasting social conditions, political and economic motivations, aesthetic predilections and debates. Assessing physical and archival evidence drawn from a spectrum of iconic and under-represented case studies, an international team of design historians collaborate in this volume to explore key methodological questions about how the production, consumption and mediation of furniture reveal shifting cultural habits and histories across diverse contexts amidst modernity. Drawing upon a wealth of visual and textual sources, this volume presents essays that examine key characteristics of the furniture of the period on the themes of Design and Motifs; Makers, Making, and Materials; Types and Uses; The Domestic Setting; The Public Setting; Exhibition and Display; Furniture and Architecture; Visual Representations; and Verbal Representations.

While Canadian historians have studied socialism in the 1930s, and although there have been many studies of American and British literary leftists from this period, Comrades and Critics is the first full-length study of Canada's 1930s literary left. Challenging dominant perceptions that this decade was a lull between the more celebrated modernist enterprises of the 1920s and 1940s, Candida Rifkind argues that the events of the 1930s - from mass unemployment, to the dustbowl, to the Spanish Civil War - galvanized a generation of writers, leading them to unite artistic practice and political action in provocative and influential ways. Analyzing and recovering much-neglected poems, plays, manifestoes, and documentaries, Rifkind demonstrates how leftist cultural production came to dominate English-Canadian literature by the end of the decade. She pays particular attention to the significant role that women writers played in this period and examines a diverse group of writers that included Dorothy Livesay, Anne Marriott, Irene Baird, and Toby Gordon Ryan. These writers negotiated the struggle to revolutionize both literature and politics, while being subject to the gender hierarchies of socialism and literary modernism that continued long after the thirties came to an end. A groundbreaking study in Canadian history and literature, Comrades and Critics is a much-needed examination of an important and still influential literary period.

"This book comprehensively details the path of feeling. Once one has a long drink of the experience of feeling that Callahan writes about, it will be difficult to quench one’s thirst for it with less." -Timothy S. Bennett, writer, artist and filmmaker "An owner’s manual for Sane Human Being! Pretty soon you’ll reclaim who you have always been, who you came here to be: deep and authentic feeling, conscious life, and a chance to play a part in the healing of our collective nightmare." -Malidoma Patrice Somé, PhD, author, healer, African Shaman "For modern seekers, responding to the call for initiation into relationship, here is an open invitation. As with all true rites of passage, there is no promise of safety along the way, and, the potential for transformation is boundless." -Sally Erickson, artist, psychotherapist, community organizer, and film producer. This book is about feelings, and the ways that we, as individuals and as a culture, have numbed ourselves against them. It is about unleashing the possibility of using your conscious feelings to re-shape your life around what really matters to you. Conscious Feelings introduces readers to the concept of the "personal numbness bar" –– a measure set high by modern culture as a way of keeping everything "cool," under control, and consequently out of touch. This book provides the insight and the means for lowering that numbness bar. "You can feel more wisely and effectively," the author asserts. You can regain the intelligence and energy of your feelings, so long denied and dressed up to appear acceptable. "Being cool," Callahan states, "allows you to look the other way about schooling, prescription drugs, corporate wrongdoing, corruption, pollution, injustice, your life purpose, your love life, and your job," and to accept the generic malaise that characterizes so many ordinary relationships. The central framework of the book is built with the Ten Distinctions for Consciously Feeling, including: Learning the potent difference between thoughts and feelings. Sorting out feelings (based in the present) from emotions (based in the past, on cultural or religious beliefs). Experiencing how feelings are absolutely-neutral energy and information, neither good nor bad, neither positive nor negative, yet extremely useful in your adult life. Each chapter is enriched with THOUGHTMAPS—clear diagrams of ways you presently think and ways you could possibly think—supported by an abundance of practical experiments t