Amsterdam of the 50s, 60s and 70s is viewed from the perspective of Inni Wintrop, a man who leads a capricious life, floating comfortably on open possibilities.

Winner of the Book of the Year Award for the Conference on Christianity and Literature.--Thomas H. Luxon, Dartmouth College "CHOICE"

This volume carefully assesses fixed notions of Arab womanhood by exploring the complexities of Arab women’s lives as portrayed in literature. Encompassing women writers and critics from Arab, French, and English traditions, it forges a transnational Arab feminist consciousness. Brinda Mehta examines the significance of memory rituals in women’s writings, such as the importance of water and purification rites in Islam and how these play out in the women’s space of the hammam (Turkish bath). Mehta shows how sensory experiences connect Arab women to their past. Specific chapters raise awareness of the experiences of Palestinian women in exile and under occupation, Bedouin and desert rituals, and women’s views on conflict in Iraq and Lebanon, and the compatibility between Islam and feminism. At once provocative and enlightening, this work is a groundbreaking addition to the timely field of modern Arab women’s writing and criticism and Arab literary studies.

More than 150 inspired—and inspiring—novelists, poets, playwrights, painters, philosophers, scientists, and mathematicians on how they subtly maneuver the many (self-inflicted) obstacles and (self-imposed) daily rituals to get done the work they love to do. Franz Kafka, frustrated with his living quarters and day job, wrote in a letter to Felice Bauer in 1912, “time is short, my strength is limited, the office is a horror, the apartment is noisy, and if a pleasant, straightforward life is not possible then one must try to wriggle through by subtle maneuvers.” Kafka is one of 161 minds who describe their daily rituals to get their work done, whether by waking early or staying up late; whether by self-medicating with doughnuts or bathing, drinking vast quantities of coffee, or taking long daily walks. Thomas Wolfe wrote standing up in the kitchen, the top of the refrigerator as his desk, dreamily fondling his “male configurations”.... Jean-Paul Sartre chewed on Corydrane tablets (a mix of amphetamine and aspirin), ingesting ten times the recommended dose each day ... Descartes liked to linger in bed, his mind wandering in sleep through woods, gardens, and enchanted palaces where he experienced “every pleasure imaginable.” Here are: Anthony Trollope, who demanded of himself that each morning he write three thousand words (250 words every fifteen minutes for three hours) before going off to his job at the postal service, which he kept for thirty-three years during the writing of more than two dozen books ... Karl Marx ... Woody Allen ... Agatha Christie ... George Balanchine, who did most of his work while ironing ... Leo Tolstoy ... Charles Dickens ... Pablo Picasso ... George Gershwin, who, said his brother Ira, worked for twelve hours a day from late morning to midnight, composing at the piano in pajamas, bathrobe, and slippers.... Here also are the daily rituals of Charles Darwin, Andy Warhol, John Updike, Twyla Tharp, Benjamin Franklin, William Faulkner, Jane Austen, Anne Rice, and Igor Stravinsky (he was never able to compose unless he was sure no one could hear him and, when blocked, stood on his head to “clear the brain”).

Foreword / Betty Sue Flowers -- Preface. About the authors and their personal and academic engagements with ritual -- Introduction. What is ritual? Its definition and characteristics -- Symbolism in ritual -- The cognitive matrix of ritual : belief systems, myths, and paradigms -- Belief systems, myths, paradigms, rituals, and the process of truing -- Ritual drivers : generating and controlling stages of consciousness -- Ritual techniques and technologies -- Ritual framing, order, and formality : how ritual generates a sense of inevitability and inviolability -- Ritual as performance : generating emotion, belief, and transformation -- Ritual and the 4 stages of cognition -- Ritual's paradoxical roles : preserving the status quo and effecting social change -- Designing rituals -- Conclusion. Ritual : what it is, how it works, and why.

Ritual is part of what it means to be human. Like sports, music, and drama, ritual defines and enriches culture, putting those who practice it in touch with sources of value and meaning larger than themselves. Ritual is unavoidable, yet it holds a place in modern life that is decidedly ambiguous. What is ritual? What does it do? Is it useful? What are the various kinds of ritual? Is ritual tradition bound and conservative or innovative and transformational? Alongside description of a number of specific rites, this Very Short Introduction explores ritual from both theoretical and historical perspectives. Barry Stephenson focuses on the places where ritual touches everyday life: in politics and power; moments of transformation in the life cycle; as performance and embodiment. He also discusses the boundaries of ritual, and how and why certain behaviors have been studied as ritual while others have not. Stephenson shows how ritual is an important vehicle for group and identity formation; how it generates and transmits beliefs and values; how it can be used to exploit and oppress; and how it has served as a touchstone for thinking about cultural origins and historical change. Encompassing the breadth and depth of modern ritual studies, Barry Stephenson's Very Short Introduction also develops a narrative of ritual's place in social and cultural life. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

This is a volume about the life and power of ritual objects in their religious ritual settings. In this Special Issue, we see a wide range of contributions on material culture and ritual practices across religions. By focusing on the dynamic interrelations between objects, ritual, and belief, it explores how religion happens through symbolic materiality. The ritual objects presented in this volume include: masks worn in the Dogon dance; antique ecclesiastical silver objects carried around in festive processions and shown in shrines in the southern Andes; funerary photographs and films functioning as mnemonic objects for grieving children; a dented rock surface perceived to be the god’s footprint in the archaic place of pilgrimage, Gaya (India); a recovered manual of rituals (from Xiapu county) for Mani, the founder of Manichaeism, juxtaposed to a Manichaean painting from southern China; sacred stories and related sacred stones in the Alor–Pantar archipelago, Indonesia; lotus symbolism, indicating immortalizing plants in the mythic traditions of Egypt, the Levant, and Mesopotamia; lavishly illustrated variations of portrayals of Ravana, a Sinhalese god-king-demon; figurines made of cow dung sculptured by rural women in Rajasthan (India); and mythical artifacts called ‘Apples of Eden’ in a well-known interactive game series.