In The Cultural Trap: How Society Shapes and Destroys Innocence, author Ranjot Singh Chahal explores the complex interplay between culture and individuality. This thought-provoking examination reveals how societal norms, education, media, and tradition mold our identities, often stifling imagination and free thought. From the loss of innocence in childhood to the rigid constructs of gender and morality, Chahal challenges readers to confront the unseen forces that shape their lives. Through insightful analysis, he encourages a rethinking of conformity, inviting a journey toward reclaiming authentic self-expression in a world rife with cultural constraints.

This work by the late and great sociologist Hugh Dalziel Duncan, paints the great panorama of the Middle West, where egalitarianism is the most cherished value, and money is the most important vehicle of life. How art finds a place in this society is shown in the specific struggle between the architects, businessmen, unionists, and educators of Chicago. Into such specifics Duncan reveals the place of supposedly abstract theories developed by John Dewey, George Herbert Mead, Thorstein Veblen, and above all, Louis H. Sullivan, whose school of architecture presents both a new form of physical design and a new order of society. The rise, seeming defeat, and final triumph of Sullivan's principles of order in architecture are related to his social and aesthetic theories of form in society. In democratic society, all individuals must be capable of art, just as all individuals share in art as experience. Sullivan's description of the development within the individual of the idea of architecture is treated as an allegory of such development in the spirit of democratic values. His life is offered as a parable of the problem facing American artists as they attempt to root art in democratic culture. In Sullivan's words: "The critical study of architecture becomes not merely the direct study of art, but "in extenso, a "study of the social conditions producing it. The study of a newly shaping type of civilization. By this light, the study of architecture becomes naturally and logically a branch of social science. . . ." Duncan's exceptional volume, written with grace and clarity, registers the achievements of this Chicago School, showing how culture and democracy reached a special moment of consensus with the money-based economy of our time.

This book presents a selection of research papers dealing with the notions of travel and identity in Anglophone literature and culture. Collectively, the chapters ponder such notions as self and other, race, centre and periphery, thus shedding new light on a number of issues that are highly relevant in the context of the ongoing migration crisis. The contributors employ a diverse range of theoretical standpoints – from close reading to deconstruction, from historically informed approaches to linguistic analysis – and thus offer a nuanced panorama of these issues, especially from the nineteenth century onwards.

From Steven Spielberg's Lincoln to Clint Eastwood's American Sniper, this fifth edition of this classic film study text adds even more recent films and examines how these movies depict and represent the feelings and values of American society. One of the few authoritative books about American film and society, American Film and Society since 1945 combines accessible, fun-to-read text with a detailed, insightful, and scholarly political and social analysis that thoroughly explores the relationship of American film to society and provides essential historical context. The historical overview provides a "capsule analysis" of both American and Hollywood history for the most recent decade as well as past eras, in which topics like American realism; Vietnam, counterculture revolutions, and 1960s films; and Hollywood depictions of big business like Wall Street are covered. Readers will better understand the explicit and hidden meanings of films and appreciate the effects of the passion and personal engagement that viewers experience with films. This new edition prominently features a new chapter on American and Hollywood history from 2010 to 2017, giving readers an expanded examination of a breadth of culturally and socially important modern films that serves student research or pleasure reading. The coauthors have also included additional analysis of classic films such as To Kill a Mockingbird (1962) and A Face in the Crowd (1957).

In this book, leading sociologists expand the scope of their discipline by revealing the sociological aspects of the works of great philosophers, scientists, and writers. Sociologists have long recognized that sociological insight can be gleaned from creative thinkers outside their formal discipline. Sociological Insights of Great Thinkers: Sociology through Literature, Philosophy, and Science captures and examines those insights in 32 essays that discuss scholars and writers not normally associated with any sociological school of thought. Following a tradition of enriching the sociological toolkit by finding influence in philosophy and literature, the volume's contributors—an international group of renowned scholars—eschew biography to focus solely on sociological interpretations that can be drawn from the work of many of history's preeminent thinkers. Among the book's subjects are philosophers such as Aristotle, Plato, Kant, and Cassirer; scientists such as Darwin and Galileo; and authors such as Kafka, Proust, and Shakespeare. The essays not only allow readers to see such thinkers in a new light, but underscore the fact that sociological questions have lain at the very heart of humanity throughout history.

The eight essays in this collection explore the work of Adrienne Rich, one of America’s most significant living writers and a poet and a public intellectual with a substantial audience both inside and outside the academy. Taken together, the essays argue for a shift in the perceived center of gravity of Rich’s career, from the passionate and eloquent poems of a largely personal feminist awakening, from the mid 60s to the early 80s, to the equally (if differently) passionate and eloquent poems of a more broadly public re-imagination of our country and its history, beginning with her work of the mid 1980s. Rich has remained committed to the reconstruction of poetry’s place in public as well as private life, nationally and globally. From varied perspectives, accessible to the common reader as well as the specialist, the collection addresses Rich’s negotiation of the boundary between these public and private spheres and the potential of poetry as a revolutionary medium and alternate epistemology, a means, as the title expresses it, of recovery and regeneration. Rich has aimed always, as the last lines of her poem “Planetarium” (1968) have it, at “the relief of the body / and the reconstruction of the mind,” and this collection works to describe her effort to extend the reach of that healing motive across a continent and a culture. "In these eight keenly executed essays edited by William Waddell, we see Rich finally removing those “asbestos gloves” once used to handle sizzling political topics. Critics in this volume show Adrienne Rich struggling barehanded with changing poetic strategies, complex new subject positions and the relations of power and cultural practice in the constitution of history. Transformative cartographer of words and perceptions, Rich, as Waddell argues, outlines “a method for redefining American space,” remapping North American culture for the marginalized, the repressed and the resistant. Waddell’s collection celebrates the polyphony of politics and aesthetics in Rich’s work, shaping for the reader an ethical discourse intensively visible, for the first time, in volumes such as An Atlas of the Difficult World: Poems 1988-1991, but equally present throughout Rich’s prose and poetry." Mary Lynn Broe, Caroline Werner Gannett Professor, Rochester Institute of Technology

From Rosemary's Baby (1968) to The Witch (2015), horror films use religious entities to both inspire and combat fear and to call into question or affirm the moral order. Churches provide sanctuary, clergy cast out evil, religious icons become weapons, holy ground becomes battleground--but all of these may be turned from their original purpose. This collection of new essays explores fifty years of genre horror in which manifestations of the sacred or profane play a material role. The contributors explore portrayals of the war between good and evil and their archetypes in such classics as The Omen (1976), The Exorcist (1973) and Dracula Has Risen from the Grave (1968), as well as in popular franchises like Hellraiser and Hellboy and cult films such as God Told Me To (1976), Thirst (2009) and Frailty (2001).