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01 JANUARY 2013

The Value of Culture: Culture and the Anthropologists

"Melvyn Bragg continues his exploration of the idea of culture by considering its use in the discipline of anthropology. In 1871 the anthropologist Edward Tylor published Primitive Culture, an enormously influential work which for the first time placed culture at the centre of the study of humanity. His definition of culture as the 'capabilities and habits acquired by man' ensured that later generations saw culture as common to all humans, and not simply as the preserve of writers and philosophers."

(Melvyn Bragg, 2013)

"The Value of Culture: Culture and the Anthropologists", Radio broadcast, Episode 2 of 5, Duration: 42 minutes, First broadcast: Monday 01 January 2013, Presenter/Melvyn Bragg, Producer/Thomas Morris for the BBC Radio 4, UK.

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TAGS

187119th centuryanima • animism • anthropologist • anthropologybelief systemsbeliefsborrowing • borrowings • capabilities and habits • Charles Lyell • civilisation • complex societies • cultural characteristics • cultural evolutionism • cultural relativismcultureculturescustoms • development of religions • early cultures • Edward Tylor • ethnographersethnographic study • evolution of culture • faith • force of habit • habithabitshistoricismhistoricist • human behaviours • human culture • human customs • human customs and behaviours • humanity • idea of culture • Indigenousleisure timematerial cultureMelvyn Bragg • Pitt Rivers • prehistory • Primitive Culture (book) • primitive cultures • religion • religious belief • science • scientific study • social anthropologysocietysoul • study of humanity • survivals • symbolic behaviourThe Value of Culture (radio)

CONTRIBUTOR

Simon Perkins
05 JANUARY 2004

Volumetric Notation: National Theatre of Japan

"Hypothesis: How to deconstruct opera and architecture so as to 'think' their concepts and simultaneously to observe them from an external and detached point of view? How to devise a configuration of concepts which is systematic and irreducible, that each concept intervenes at some decisive moment of the work? How to question the unity of a building without re–course either to a composition of articulated and formalised elements or to a random accumulation of isolated programmatic fragments? To play on limits without being enclosed within limits? To relate to other operas while referring only to one's own? Juxtaposition We have therefore abandoned traditional rules of composition and harmony, replacing them with an organisation based on breaking apart the traditional components of theatre and opera house and developing a new 'tonality' or 'sound'. No more artful articulations between auditorium, stage, foyer, grand staircase; in–stead, a new pleasure through the parallel juxtaposition of indeterminate cultural meanings, as opposed to fixed historicist practices. Functional constraints are not translated into a composition of symbolic units, but are extrapolated into a score of programmatic strips, analogous to the lines of a musical score, each containing the main activities and related spaces."

(Bernard Tschumi, 1987)

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Bernard Tschumicompositionfragmentharmonyhistoricistjuxtaposition • National Theatre of Japan • operaPapadakisprogrammescoretheatre
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