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Rock & Roll: An Unruly History, by Robert Palmer

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Rock and roll is a profoundly American art form, the musical expression of revolutionary changes in popular culture and values, a Dionysian eruption that hit the white-bread fifties like a hurricane.  It was a force destined to shake up subsequent decades and transform American culture.  Throughout its nearly four-decade history, rock and roll has continued to reinvent itself, to challenge, to upset as well as delight, to break rules and make new ones.

Rock & Roll: An Unruly History is the companion guide to PBS's ten-part series on rock that aired in September.  When PBS first conceived the Rock & Roll series, they sought out Robert Palmer, an acclaimed rock historian, writer, and the New York Times's first full-time pop music critic, to help assemble the names, events, and landmarks that are the terrain of rock history.  Palmer acted as the chief advisor to the series and it was this association that inspired him to write ROCK & ROLL:  An Unruly History.

ROCK & ROLL traces the course of rock's rich history through Palmer's own perceptions and experiences. Incorporating countless interviews with rock personalities that he has conducted over the last three decades, ROCK & ROLL follows rock's road of creative flashpoints, but diverges, too, to explore the fundamental traditions that have helped define both the music and its culture.  With a corresponding chapter to each part in the series, ROCK & ROLL shows how people, places, and events from rock "gods" to little known session musicians, from Muscle Shoals, Alabama, to the far reaches of West Africa shaped and defined the music's most important epochs.  Yet, to give rock the more in-depth analysis that it deserves, Palmer has written three additional essays "I Put a Spell on You," "Delinquents of Heaven, Hoodlums from Hell," and "The Church of the Sonic Guitar" which  respectively explore the rudiments of rhythm, the ritual of rebellion, and the story of the "six-string" in rock.

In ROCK & ROLL, Robert Palmer traces rock's ongoing evolution, showing how its many styles and early influences from blues and gospel to reggae, punk, and rap overlap and distinguish themselves from one another.  With more than one hundred and fifty illustrations,  ROCK & ROLL is the best of the two primary approaches to rock and roll history the history of innovative flashpoints, and the history of an ongoing tradition.  As told through the senses and lifelong  experiences of one of rock's preeminent critics, ROCK & ROLL is the most insightful and intelligent history of rock ever written.

• Sales Rank: #387615 in Books
• Published on: 1995-09-19
• Released on: 1995-09-19
• Original language: English
• Number of items: 1
• Dimensions: 9.50" h x 8.00" w x 1.00" l,
• Binding: Hardcover
• 325 pages

From Library Journal
Rolling Stone rock-writer Palmer has authored a selective, personalized history of rock'n'roll that loosely serves as a companion to the PBS/BBC television series on the same topic. He offers ten chapters of uneven quality, including a good explanation of rock's origins, an almost needless chapter about Bob Dylan circa 1965, a look at psychedelia that omits leading San Francisco bands, and a weak concluding chapter on rap and metal. Clearly more comfortable with blues and its direct descendants, Palmer downplays or ignores MTV, Michael Jackson, the Mersey Beat British Invasion, early Bob Dylan, Bruce Springsteen, The Who, grunge, and hardcore punk. Further confusing this "history," Palmer intersperses three thematic essays between the chronologically organized chapters: a detailed account of the African and Cuban antecedents of rock; a less-than-compelling look at rock's dangerous side; and an excellent, previously published examination of the electric guitar. Considering his past accomplishments (the indispensable Deep Blues, LJ 5/15/81) and his many interviews with musicians, Palmer has provided a disappointing book that adds little to rock histories currently available. Buy only according to demand.
--David Szatmary, Univ. of Washington, Seattle
Copyright 1995 Reed Business Information, Inc.

From the Inside Flap
Rock and roll is a profoundly American art form, the musical expression of revolutionary changes in popular culture and values, a Dionysian eruption that hit the white-bread fifties like a hurricane.  It was a force destined to shake up subsequent decades and transform American culture.  Throughout its nearly four-decade history, rock and roll has continued to reinvent itself, to challenge, to upset as well as delight, to break rules and make new ones.

Rock & Roll: An Unruly History is the companion guide to PBS's ten-part series on rock that aired in September.  When PBS first conceived the Rock & Roll series, they sought out Robert Palmer, an acclaimed rock historian, writer, and the New York Times's first full-time pop music critic, to help assemble the names, events, and landmarks that are the terrain of rock history.  Palmer acted as the chief advisor to the series and it was this association that inspired him to write ROCK & ROLL:  An Unruly History.

ROCK & ROLL traces the course of rock's rich history through Palmer's own perceptions and experiences. Incorporating countless interviews with rock personalities that he has conducted over the last three decades, ROCK & ROLL follows rock's road of creative flashpoints, but diverges, too, to explore the fundamental traditions that have helped define both the music and its culture.  With a corresponding chapter to each part in the series, ROCK & ROLL shows how people, places, and events from rock "gods" to little known session musicians, from Muscle Shoals, Alabama, to the far reaches of West Africa shaped and defined the music's most important epochs.  Yet, to give rock the more in-depth analysis that it deserves, Palmer has written three additional essays "I Put a Spell on You," "Delinquents of Heaven, Hoodlums from Hell," and "The Church of the Sonic Guitar" which  respectively explore the rudiments of rhythm, the ritual of rebellion, and the story of the "six-string" in rock.

In ROCK & ROLL, Robert Palmer traces rock's ongoing evolution, showing how its many styles and early influences from blues and gospel to reggae, punk, and rap overlap and distinguish themselves from one another.  With more than one hundred and fifty illustrations,  ROCK & ROLL is the best of the two primary approaches to rock and roll history the history of innovative flashpoints, and the history of an ongoing tradition.  As told through the senses and lifelong  experiences of one of rock's preeminent critics, ROCK & ROLL is the most insightful and intelligent history of rock ever written.

About the Author
Robert Palmer was the New York Times's first full-time rock writer and chief pop critic (1976-1988) and has been a contributing editor at Rolling Stone since the early seventies.  He has taught courses in American music at Yale, Carnegie-Mellon, Bowdoin, the University of Mississippi, and Brooklyn College, where he was the first Senior Research Fellow of the Institute for Studies in American Music to teach and write a musicological monograph on rock and roll.  He is the author of Deep Blues and other books, and served as writer and music director for two award-winning documentary films, The World According to John Coltrane and Deep Blues.  Since producing the latter film's sound track CD for Atlantic Records, he has produced a number of raw juke joint blues CDs for the Fat Possum label, winning a number of polls and awards.  He acted as the chief advisor to the ten-part WGBH/BBC series.

Most helpful customer reviews

9 of 10 people found the following review helpful.
Robert Palmer & the Journey of Rock 'n' Roll
By K. French
I had to write this to offer a different opinion to the one-star review below. Robert Palmer was one of this country's best music writers and a man who died way too young. This book is not his best (that'd be DEEP BLUES), but he does an excellent job of capturing the broad history of rock 'n' roll. He discusses what led up to that crucial moment at Sun Studios in 1954 (I don't think he's trying to say that the music sprang full-grown from Elvis) and where the music traveled from there.
Bear in mind, however, that this book also served as a companion to a PBS special. That it's able to stand alone without the visuals attests to its worth. It badly deserves to be back in print.

3 of 3 people found the following review helpful.
I thought this book was brilliant
By Chuck Bobuck
I read this book almost ten years ago, and I still remember it as a remarkable work that put everything into perspective -- a kind of enlightenment experience. I especially loved Palmer's background on the beginnings of rock & roll in the call-and-response tent revivals.

With regard to the Elvis controversy below, I don't think Palmer ever suggests that Elvis invented rock & roll -- he painstakingly documents the contributions of dozens of black artists like Pinetop Smith, T-Bone Walker, Roy Brown, Goree Carter (to whom he credits the first rock & roll record), Ike Turner etc, well before the Elvis "invasion" of the mid-1950s.

I loved it.

7 of 9 people found the following review helpful.
Snapshots into rock 'n' roll's true roots
By Rick Coleman
An intriguing archaeological dig down to the murky muddy roots of rock 'n' roll -- sifting through race politics and dogma back to pre-war gospel, blues and jazz, to the Caribbean, to Africa.
Robert Palmer was one of the best rock 'n' roll writers and historians. This is the basis for the PBS TV series ROCK 'N' ROLL, which,unfortunately, did not have nearly the depth of this (it quickly dispensed with rock's roots and showed only Elvis and other latecomers in its first episode). Sadly, Palmer died before he could flesh out this work, which remains a blueprint for future writers to follow on researching rock 'n' roll's roots. Go for it!

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* Download The Sinister Way: The Divine and the Demonic in Chinese Religious Culture, by Richard von Glahn

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The most striking feature of Wutong, the preeminent God of Wealth in late imperial China, was the deity's diabolical character. Wutong was perceived not as a heroic figure or paragon of noble qualities but rather as an embodiment of humanity's basest vices, greed and lust, a maleficent demon who preyed on the weak and vulnerable. In The Sinister Way, Richard von Glahn examines the emergence and evolution of the Wutong cult within the larger framework of the historical development of Chinese popular or vernacular religion—as opposed to institutional religions such as Buddhism or Daoism. Von Glahn's study, spanning three millennia, gives due recognition to the morally ambivalent and demonic aspects of divine power within the common Chinese religious culture.

• Sales Rank: #2285574 in Books
• Published on: 2004-04-20
• Original language: English
• Number of items: 1
• Dimensions: 9.21" h x .94" w x 6.14" l, 1.66 pounds
• Binding: Hardcover
• 397 pages

From the Inside Flap
"A fascinating story of the origins and development of the Wutong cult and the demonic in Chinese religion. From the Shang Dynasty down to late imperial times, Von Glahn lays before us an engaging wealth of knowledge and never-before presented data."—Stephen R. Bokenkamp, Indiana University, author of Early Daoist Scriptures

"No other writer has explored the place of the sinister in Chinese religion in such a thoughtful and nuanced way. An excellent, gracefully written study covering major themes of the Song through Ming periods."—Patricia Ebrey, author of The Inner Quarters: Marriage and the Lives of Chinese Women in the Sung Period

From the Back Cover
"A fascinating story of the origins and development of the Wutong cult and the demonic in Chinese religion. From the Shang Dynasty down to late imperial times, Von Glahn lays before us an engaging wealth of knowledge and never-before presented data."--Stephen R. Bokenkamp, Indiana University, author of "Early Daoist Scriptures

"No other writer has explored the place of the sinister in Chinese religion in such a thoughtful and nuanced way. An excellent, gracefully written study covering major themes of the Song through Ming periods."--Patricia Ebrey, author of "The Inner Quarters: Marriage and the Lives of Chinese Women in the Sung Period

About the Author
Richard von Glahn is Professor of History at the University of California, Los Angeles. He is the coeditor of The Song-Yuan-Ming Transition in Chinese History (2003) and the author of Fountain of Fortune: Money and Monetary Policy in China, 1000-1700 (California, 1996) and The Country of Streams and Grottoes: Expansion, Settlement, and the Civilizing of the Sichuan Frontier in Song Times (1987).

Most helpful customer reviews

12 of 16 people found the following review helpful.
Demons and Gods in China
By César González Rouco
Pursuant to the author, the notion of divine retribution for mortal sin thoroughly permeated religious culture of the imperial era, and religious practice above all was devoted to the expiation of sin and relief from postmortem punishment, for oneself and for one's ancestors. The diabolic character of Wutong illustrates that transactions with the divine realm remained fraught with uncertainty, the Wutong cult arising as much as from fear of the god's wrath and malice as from hope of securing its aid. Although China's religious culture did not simply mirror the social order and its essential values, by examining the ever-changing world of vernacular religion we can catch a glimpse of how the lives and thoughts or ordinary Chinese were conditioned by the times they lived in, given that the conception of the divine realm in Chinese vernacular religion was very much a product of active effort by ordinary people to make sense of, and gain control over, their lives, and that conformity to the state's and ecclesiastic authorities' standards of religious belief and practice remained superficial.

All that (and much more that I do not mention in this summary) is developed in 321 pages (footnotes included), the book being divided in the following chapters: Introduction; 1. Ancestors, Ghosts, and Gods in Ancient China; 2. The Han cult of the Dead and Salvific Religion; 3. Shanxiao: Mountain Goblins; 4. Plague Demons and Epidemic Gods.; 5. The Song Transformation of Chinese Religious Culture; 6. Wutong: From Demon to Deity; 7. The Enchantment of Wealth; Conclusion.

Besides, the book is not a difficult reading (content: 5 starts; pleasure of reading: 4 to 3).

Other books I would recommend reading are the following:"In Search of Personal Welfare: A View of Ancient Chinese Religion " by Mu-Chou Poo(excellent too, but not at all engaging); "The Phenomenon of Religion", by Moojan Momen; "Vampires, Burial, and Death : Folklore and Reality" by Paul Barber; "Ecstasies: Deciphering the witches' Sabbath", by Carlo Ginzburg; and "Shamans, Sorcerers, and Saints: A Prehistory of Religion" by Brian Hayden.

5 of 5 people found the following review helpful.
Absolutely excellent historical overview of popular religion in China
By PBjW
Professor von Glahn introduces his text as a "history of the cult of Wutong [who begins as a plague demon and ends up, surprisingly, as a wealth god] within the larger context of China's evolving religious culture." And as he notes, "the Wutong cult [does] demonstrate the primacy of the eudaemonistic regime of sacrifice and exorcism in Chinese veracular religion" (p. 263). But it would significantly shortchange this text if one stopped there, for the study of the cult of Wutong is a mere drop in the sea of information and insights readers will gain from this thoughtful, incredibly well researched, well-written volume that dips and surfs and then dives into the diversity of Chinese religious culture.

Although perhaps not for the general lay reader, as a student of Chinese history I couldn't put this volume down. Anyone with an interest in Chinese religions will find its overview of the ways that folk religion, Daoism, Confucianism and Buddhism developed throughout the years, at times spilling over or rubbing against one another, riveting. The Sinister Way takes all the basic facts one knows of Chinese religions (pre-Shang through modern times) and ratchets them up. Von Glahn also helps readers take much of the diverse information one may have acquired over years of reading and study, and gives it a fascinating framework, making the parts form a whole that substantially adds to an understanding of how religions made their way in China. Each topic is framed in its proper historical period and geography, but then linked forward (or back) so readers can follow a sect's growth or a deity's transformation, or the rise of a new religious trend or practice.

The nine bronze cauldrons, the Queen Mother of the West, the demon-kings and immortals, Guandi and Tianhou are all here, but von Glahn has found the most extraordinary details that rend them so much more comprehensible and fascinating. Guandi's origins in an obscure local snake cult? The Demon Catcher (Zhong Kui)'s name perhaps evolving from a magical hammer? The transition of Xiwangmu from a horrific figure with tiger-sharp teeth to the graceful lady of the elixir of immortality? The money trees found in the tombs of the Han Dynasty and their relationship to the Fusang Tree? It's all here. AND easy to find.

So many books today are rich in detail that's irretrievable for lack of a good index, but this index is excellent. As are the numerous detailed notes and the extensive bibliography.

I read this book once, then immediately turned back to page 1 to re-read it, stopping to read the extensive endnotes, and make my own marginal notes. What a wonderful rich find this book is. If you've gotten this far, don't hesitate, and don't let the title or its subtitle (The Divine and the Demonic in Chinese Religious Culture) divert you from one of the most rewarding books on religion in China I've read in years.

0 of 0 people found the following review helpful.
Five Stars
By Vanessa M. Mangione
Awesome, thanks!

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# Free Ebook A Home for the Soul: A Guide for Dwelling wtih Spirit and Imagination, by Anthony Lawlor

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Anthony Lawlor is known as the architect who brings soul to design. His acclaimed book The Temple in the House showed how to and the sacred in architecture. Now, in A Home for the Soul, he reveals how our houses and apartments can become havens of inspiration and renewal.

"From the moment we're born, we seek to find home." Lawlor says, "Yet, despite this primal longing, our dwelling places often disappoint us." In A Home for the Soul, we discover that the depth and meaning we seek is right in front of us if we but have the eyes to see. Lawlor teaches us how to develop a consciousness about the spiritual possibilities inherent in our interior surroundings; he shows how to recognize the sacred in material form. "Each time we bathe," says Lawlor, "we not only cleanse the body, we refresh the spirit. Each time we open our front door, we enter a universe of connection and signifcance."

Lawlor leads us on a journey through each room of the house, opening our vision to hidden possibilities. We discover, for example, how a stove expresses the transforming power of nature, how clothes closets reveal our inner personalities, and how home of        ces display our talents. Lawlor shows us the mythological and archetypal meanings within the common objects of daily life--such as a bed, a bathtub, a pair of shoes, or a loaf or bread.

The author also offers practical suggestions for arranging or building soulful homes. He explains how to use wood, tile, brick, and stone to express qualities of the spirit and how to use furniture and personal objects as allies in creating meaning.

Finally, Lawlor shows us how to construct a Mandala of the Soul--a wood cabinet with compartments for housing the symbols of home that have particular personal meanings for each reader.
        
In these pages, we come to understand how all the rooms we live in can form a sacred place of wholeness, a home that cares for and uplifts the totality of mind, body, and soul.

• Sales Rank: #515164 in Books
• Published on: 1997-11-11
• Released on: 1997-11-11
• Original language: English
• Number of items: 1
• Dimensions: 10.27" h x .76" w x 7.78" l,
• Binding: Hardcover
• 224 pages

Features

• Tight & clean!

Amazon.com Review
Mindfulness has become a common religious buzzword. In A Home for the Soul award-winning architect Anthony Lawlor shows us how to decorate a home that encourages mindfulness from every bathroom and bibelot. Despite a (perhaps unavoidable) tendency toward camp and solipsism, the stunning photographs and insights into the potentially sacred details of domestic living prompt you to pay closer attention to your immediate environment. For example, "Books are like small altars, each page serving as a threshold for crossing into realms of broadened vision." Investing the items around us with soulful symbolism is like living in a temple of one's own design.

From the Inside Flap
Anthony Lawlor is known as the architect who brings soul to design. His acclaimed book The Temple in the House showed how to and the sacred in architecture. Now, in A Home for the Soul, he reveals how our houses and apartments can become havens of inspiration and renewal.

"From the moment we're born, we seek to find home." Lawlor says, "Yet, despite this primal longing, our dwelling places often disappoint us." In A Home for the Soul, we discover that the depth and meaning we seek is right in front of us if we but have the eyes to see. Lawlor teaches us how to develop a consciousness about the spiritual possibilities inherent in our interior surroundings; he shows how to recognize the sacred in material form. "Each time we bathe," says Lawlor, "we not only cleanse the body, we refresh the spirit. Each time we open our front door, we enter a universe of connection and signifcance."

Lawlor leads us on a journey through each room of the house, opening our vision to hidden possibilities. We discover, for example, how a stove expresses the transforming power of nature, how clothes closets reveal our inner personalities, and how home of        ces display our talents. Lawlor shows us the mythological and archetypal meanings within the common objects of daily life--such as a bed, a bathtub, a pair of shoes, or a loaf or bread.

The author also offers practical suggestions for arranging or building soulful homes. He explains how to use wood, tile, brick, and stone to express qualities of the spirit and how to use furniture and personal objects as allies in creating meaning.

Finally, Lawlor shows us how to construct a Mandala of the Soul--a wood cabinet with compartments for housing the symbols of home that have particular personal meanings for each reader.
        
In these pages, we come to understand how all the rooms we live in can form a sacred place of wholeness, a home that cares for and uplifts the totality of mind, body, and soul.

From the Back Cover
"In places and people, we seek that elusive feeling of being welcomed. We want our houses and apartments to be warm and nurturing and beautiful, but they are sometimes territories of chaos and confusion. Yet, the haven the soul seeks is close at hand, within the stove and the cupboard, on the bookshelf, and in the closet. With the eyes to see it, and the hands to create it, we can recover the home that the soul desires."
--from the introduction of A Home for the Soul


Praise for The Temple in the House

"What a rare, important, and beautiful book. It has style, substance, art, depth, and usefulness. I treasure it."
--Thomas Moore, author of Care of the Soul

"This book is a living temple in which the soul of architecture and the architecture of the soul are brilliantly evoked. The reader is magically led through patterns and proportions that transform the ordinary house into a charged place of spirit."
--Jean Houston, Ph.D., author of A Mythic Life

"The Temple in the House guides the reader to discover the roots of design in the heart and mind, and helps us understand how to translate these symbols and sentiments into spaces that make us happy and healthy. A wonderful book."
--James A. Swan, Ph.D., author of Nature as Teacher

Most helpful customer reviews

20 of 20 people found the following review helpful.
Planning for a home, not a showcase
By Gwyneth Calvetti
If you are looking for lots of ideas for floor plans, design or decorating ideas, this is not the book you want. If you are looking for a book that will help you create a space that feels like "home," this book will help you think about what that means in terms of your space.
Lawlor takes an unusual approach to his subject by first examining each living area with respect to the Greek gods typically responsible for that space. Before one dismisses this as a New Age thing, study the ideas behind the activities represented by that god. It's simply his "hook" to get the reader to continue on, to think about what this space is intended to do in the routine of life. As a storyteller, I was thrilled to read of his ideas for planning one's living area, which should be a space for stories, music and social interaction. He does not ignore the ever-present television, but he does suggest planning for lively, involved social interaction, which we all crave but often lack in our busy lives.
He does give general suggestions for room layouts if you are in the planning stages of construction, and closes each chapter with his vision of the ideal layout for that living area. He suggests materials, colors, furnishings and accents for each specific area, so that if you are looking to change existing space, you'll find that, too. Anyone who places a priority on books as a major furnishing component will win me over every time, but his vision of planning for a home, not a house, has appeal as well.

38 of 43 people found the following review helpful.
Mundane ideas at best...
By A Customer
Unless you've lived under a rock for the past decade & have read NOTHING in design periodicals (or even the newspaper!) about trends in decorating & design; you've already seen most of what is in this book. The author's suggestions are topics covered in entire books elsewhere. On a new garden "use plants native to your microclimate. Install bird feeders". Could you have guessed? Most pictures are antique-y and have an East coast derivative feel: hardly inspiratioin to those in other regions. Softening sunlight using rattan shades has been done in Calif. for at least 20 years!On the toilet: author's exhalted importance here will be left to your imagination unless you buy the book anyway. The curve of stairways "inviting the soul to flow....upward"...I expected an expose on the supernatural. On dining: use runners & placemats, a cluster of candles...this is new? "Breath 3 times, look at each person, look at food.". .this book has an air of total meloncholy; damp & moldy. He tells us to "observe", "think of ways", "think of materials"...things we are looking to HIM for. "Wood panel doors offer grainy texture.... "Place a desk by a window..." these are not unique either. What a downer. Save your money & peruse your Pottery Barn catalog instead. I wish I had.

15 of 16 people found the following review helpful.
Thus the difference between a house and a home.
By A Customer
Light a few candles. Put on the tea kettle. Find the most comfortable spot in your home and settle in. This book will transport you to the essence of your soul room-by-room. There are many ideas on how to turn your space into a nurturing nest, and not all fluff--many practical ideas that make a huge impact. I highly recommend this book.

See all 16 customer reviews...

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^ Ebook Getting Married in Korea: Of Gender, Morality, and Modernity, by Laurel Kendall

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This work explores what it means to be modern and what it means to be Korean in a culture where courtship and marriage are often the crucible in which notions of gender and class are cast and recast. Touching on a number of important issues—identity, romantic love, women’s work, marriage negotiations, and wedding ceremonies—Laurel Kendall gives us a new appreciation for how Koreans have adapted this pivotal social practice to the astounding changes of the past century.

Kendall attended her first Korean wedding in 1970, soon after she arrived in the country with the Peace Corps. Years later, as a seasoned anthropologist, she began interviewing both working-class and middle-class couples, matchmakers, purveyors of dowry goods, and proprietors of wedding halls. She consulted etiquette handbooks and women’s magazines and analyzed cartoons, photographs, and weddings themselves. The result is an engaging account of how marriage matches are made, how families proceed through the rites, how they finance ceremonies and elaborate exchanges of ritual goods, and how these practices are integral to the construction of adult identities and notions of ideal women and men. The book is also a reflection on what it means to write “Korea” in a complex and ever changing social milieu.

• Sales Rank: #1079925 in Books
• Published on: 1996-05-31
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .80" w x 6.00" l, .92 pounds
• Binding: Paperback
• 269 pages

From the Back Cover
This book is and is not about Korean weddings. It explores the meaning and importance of getting married in late-twentieth-century Korea, but it is also concerned with weddings as flash points of argument about the past and the present, about the desirability of women and men, and about what it means to be Korean in a shifting and intensely commodified milieu.

About the Author
Laurel Kendall is Curator of Asian Ethnographic Collections at the American Museum of Natural History. Her previous books include Shamans, Housewives, and Other Restless Spirits: Women in Korean Ritual Life (1985) and The Life and Hard Times of a Korean Shaman: Of Tales and the Telling of Tales (1988).

Most helpful customer reviews

0 of 0 people found the following review helpful.
Discovering Korea Through Its Weddings
By Etienne RP
Laurel Kendall first came to Korea in the early 1970s as a Peace Corps volunteer. She returned in 1976 as a graduate student observing ancestor rituals (yotamkut) in rural households and healing ceremonies (kut) by female mediums (mansin, mudang, posal). In 1983, she began a project on weddings by attending marriage ceremonies in the wedding halls of a small town located near the village where she conducted her first fieldwork. Between 1983 and 1985, during several trips to Korea, she interviewed a sample of about thirty couples as well as members of their families in long, semi-structured interviews. She asked newly-wed couples how they met with each other, how they dealt with their future parents-in-law, how they financed ceremonies and what kind of gifts they exchanged. In subsequent years, she continued to accumulate data by monitoring how marriage was discussed in the popular media and in everyday conversations. She also visited regularly her first host family and witnessed how her Omoni’s three daughters got married. She also researched in history books and ethnographic archives how marriage had evolved since the Joseon period and through the tumultuous twentieth century. Getting Married in Korea, published in 1996, is the result of this accumulated experience and observations.

Studying weddings is a classic in cultural anthropology. Weddings are rites of passage or ceremonies of initiation by which the groom and the bride change social status and enter full membership in society. They reflect alliance strategies between two families or lineages who contract relations of mutual support and reciprocity. Some anthropologists see marriages as part of a general theory of exchange in which women are treated as property, being given to other men to cement group relations and foster structures of social networks. When groups exchange women on a regular basis, they create a debtor/creditor relationship which must be balanced through the “repayment” of wives, either directly or in the next generation. Other feminist scholars argue that unions and wedding ceremonies perpetuate the subordination of women and are replete with sexist imagery. Wedding tradition are rooted in patriarchy, as when the father of the bride walks her down the aisle and gives her away to the groom. Folklorists see in weddings a rich repository of social customs and traditions that give privileged access to a culture. For anthropologists, observing weddings and asking questions about marriage is an easy way to do fieldwork.

Laurel Kendall covers all these aspects in her study of how people get married in Korea. The book combines aspects of a classic ethnography, with descriptions of rites and practices that stand in sharp contrast with nuptial practices in Western societies, and elements of a postmodern inclination that characterized the discipline of anthropology during the 1970s and 1980s. She is careful to point out that she does not describe Korean weddings per se, but specific ceremonies situated in time and place and involving people belonging to a certain milieu. Wedding practices are always diverse and contested by people who have different views on what a proper marriage should be like. But there are also homogenizing factors that impose order and bring uniformity to the diversity of practices. One such factor is the wedding industry evolving around banquet halls, professional services and specialized magazines that propose a limited set of options among which the couple will choose its own formula. Another factor is the expectation of families and entourage of the couple, who may refer to their own experience or to local traditions, invented or not. Yet another factor is the role of the state, which in the authoritarian context of the 1980s took the form of official guidelines and etiquette codes that aimed at limiting excessive expenses and prohibiting practices seen as wasteful. Indeed, the interest of the anthropologist in her topic was itself framed by such state concerns, and her initial study was to measure the various costs and economic transactions associated with marriage rituals.

As Kendall confesses it, attending her first wedding in Korea was a depressing experience. On the surface, there was nothing specifically Korean in the ceremony. It took place in a wedding hall where the soon-to-be-wed couple and their party of family and colleagues were bumping against the guests of other parties. The whole scene reminded her of an intercity bus terminal. The groom and the bride wore Western attire, and the whole ceremony mimicked a traditional church wedding while erasing the religious element. The anthropologist wished she could attend a “real” Korean wedding which, according to her Korean informers, was still performed “in the countryside.” Weddings as celebrated in wedding halls were a wholly commodified enterprise. The organizers offered a package deal that included the use of the ceremonial hall, pianist, photographer, a rented dress and veil, gloves and flowers for the bridal party, and a beauty parlor session for the bride.

On closer inspection, however, the anthropologist observed some peculiarities. As elsewhere in Asia, guests presented cash envelopes to a clerk at the entrance desk who registered the amount of their monetary donations. It was said that cash gifts were also collected at the workplace and handed out directly to the groom, for fear the parents kept the money for themselves. A list of the government’s “prohibition against empty ceremonies and vulgar ostentation” hung in the front office next to a display of wedding portraits. A young man served as an announcer (sahoe) and guided the attendees to a sequence of procedures set in the Family Ritual Code published by the government and detailed in etiquette books. The author notes that the adherence to a preordained script echoed the Confucian insistence on proper ritual or ye (Chinese li), while the intervention of an authoritarian state reminded her that Confucian traditions were reinvented and mobilized by the state to serve a national project of developmentalism. Another culturally marked agent was the churye or master of ceremony, a dignified figure who delivered a long speech to the couple as they were about to enter a life-long commitment. The churye also performed the role of clergy and declared the couple united by the bond of marriage.

Patriarchy makes itself felt in Korean weddings, even more so than in their Western model. Korean patrilocal traditions enhance the pathos of “raising a daughter and giving her away.” When they bend forward to greet each other, the bride is (or was) instructed to bow just a bit more deeply than the husband. Up until the 1970s, brides were enjoined not to smile on their wedding day lest their first child be a girl. The churye speech as analyzed by Kendall is full of references to a Confucian ideology reconfigured to suit a conservative social philosophy. For the groom, marriage is the day he “puts up his hair and becomes an adult.” An unmarried man, even though he is not a boy, is socially not a man and remains treated like a boy. For the bride, marriage marks her entrance into her husband’s kin group and the severing of the links with her own family. This is symbolized by the pyebaek ceremony immediately following the Western-style wedding, in which the bride changes her clothes for a neo-traditional hanbok costume and, accompanied by the groom also clad as a yangban from dynastic times, bows with a full kow-tow to her parents-in-law to get acceptance into her new family. The author is careful to note that each genuflection is rewarded by a cash envelope or cholgap. The pyebaek ceremony also involves offerings of cups of wine, and a fertility rite by which the stepmother casts handfuls of dates and chestnuts on the bride’s long sleeves while wishing for many grandchildren.

In fact, pyebaek ceremonies are a fairly recent phenomenon. Wedding halls began to offer special rooms for the pyebaek only in the 1970s. Before that, the formal greeting to the parents-in-law took place at home and did not involve elaborate costuming. There are many traditional customs that are resurfacing in modern wedding rituals. The Confucian wedding rite was a yangban custom and was heavily formalized. The procedures were declaimed in arcane Sino-Korean. During the reforms of the fourteenth and fifteenth century now identified as the introduction of “Neo-Confucianism,” scholars versed in the Chinese tradition sought to restore the moral order of a lost golden age. The adopted Chu Hsi’s Family Rituals as a manual of ritual practice that would be accessible to all, reach and poor alike. The notion that good rituals make better people stems from Korea’s Neo-Confucian heritage. The correct performance of critical passage rites was thought to foster a well-run social order. The Christian missionaries who introduced new style wedding or sinsik fought against this Confucian tradition; but like the Chinese scholars from the fourteenth century, they saw Christian marriage as an instrument of family reform. Likewise, young intellectuals from the end of the nineteenth century began to advocate marriage on the basis of personal choice and mutual understanding as opposed to the blind marriages negotiated by families, when the groom first had a peek of his bride during the wedding ceremony. These young patriots also advocated education for women, and soon put forward the model of “wise mothers, good wives” (hyonmo yangcho) who were supposed to serve the nation in times of Japanese imperialism.

We now see a return of traditional weddings in places like the Korea House or other touristic sites, where onlookers can glimpse the groom and the bride in traditional attire. Souvenir shops sell wooden wedding ducks that are offered by the groom as a sign of fidelity. More guests wear the national dress of hanbok. This embrace of a more “Korean” style of wedding coincided with a swelling of national pride starting in the 1980s. It was accompanied by the repelling of the Family Ritual Code and its “prohibitions on empty formalities and vulgar ostentation.” The average cost of wedding skyrocketed: it went from 8 to 18 million won between 1985 and 1990 (it surpassed 50 million in 2013). Another ritual that underwent a revival is the bride’s family sending “ritual silk” (yedan, yemul) in the form of clothing for the groom and his immediate family, originally to test the bride’s skills at stitching and embroidering. The groom’s side would respond with comparable gift to the bride when they send the gift box, on or near the eve of the wedding. When the groom’s friends bring the gift box (ham) containing the marriage contract and betrothal gifts, they bargain and banter with the bride’s family in the hope of extorting from them a large “delivery fee” (hamgap) that will be spent on the evening’s celebration. In turn, the friends of the bride would sometimes “sell” her bouquet on the wedding day to the gift box bearers for a “flower fee” (kkotkap). Some scholars argue these rituals are new customs, or invented traditions; others describe the gift box delivery as carnival inversion of the social order by which subordinates and kinsmen would claim a share of the wedding’s spoils.

Some critics describe Korea’s modern history as a long march towards gender equality and women’s “liberation.” The opposition between an enlightened “now” versus a repressive “then” is often illustrated by the passage from “arranged” marriage (chungmae kyorhon) to “love” marriage (yonae kyorhon). For Laurel Kendall, the reality is more complex. First, matchmaking has not disappeared from the scene. Far from it: it has even spread to new sectors of society and taken new forms, such as computer matching services or marriage bureaus. The wicked matchmaker or “Madam Ttu” (named after a character in a novel by Park Wan-seo) is a figure of popular folklore. Many marriages fit into an intermediate category, half “love” and half “matchmade”. The very fact that a friend or relative often “introduces” the couple blurs the boundaries and rigid categorizations. Second, for “love” marriage as for “matchmade”, young women stand at a particular disadvantage. Marriage in Korea is a buyer’s market: men of “good groom material” (chohun sillanggam) are hard to find, and “good men” are in a position to set exacting terms in matchmaking. At the arranged meeting, as in a job interview, a woman is under tremendous pressure to convey a positive impression of her looks and personality in a brief period of time and under awkward circumstances. In love and romance, the situation is more balanced, but young women still stand at a disadvantage when it comes to asserting their freedom and independence.

As mentioned, this book was published in 1996, based on research that took place in the early eighties. The modern reader cannot fail to contrast the “then” and the “now”. Korea has changed a lot during the past four decades, and so have marriage, courtship, and matrimony. Korea was then a marriage country: as Kendall wrote, “marriage under the old Korean system was almost as certain as death,” and women who were still single in their late twenties were under considerable pressure to marry. Now four in ten South Korean adults are unmarried, the highest share among the 34 OECD countries. The mean age at which women marry has risen from 25 in 1995 to 30 today. In Seoul, over a third of women with degrees are single. Doing fieldwork in a working-class neighborhood, Kendall met couples who registered their marriage long before they could afford a proper wedding ceremony, which was thus delayed until the household had accumulated sufficient savings. Now it is said that some couples have a wedding ceremony before registering their marriage, waiting a few months for fear their union could end in a divorce, as is the case with one in three marriages in Korea. And yet some distinctive customs remain. Korean couples have a particular way to do romance, as evidenced in the television drama series that are watched all over Asia. Getting Married in Korea is still a fascinating topic for all people interested in learning more about Korea’s society and culture.

4 of 4 people found the following review helpful.
Learn about Korean society
By W Boudville
An at times funny read of the intersection of two cultures. One is the modern consumerist culture, that has taken firm hold in South Korea since the 1980s. The other is a traditional Confucian morality steeped in centuries of lore.
Kendall studies this through the ingenious choice of marriages. Here, the Confucian traditions often appear in the form of arranged marriages. Yet she shows how young couples persistently try to sidestep this format.
Along the way, a non-Korean reader is also rewarded by many insights into Korean society. Things that an outsider who does not speak the language would simply miss.

6 of 9 people found the following review helpful.
interesting case study in sociology, not Korean culture
By A Customer
this book is not for someone who would be interested into a systematic and quick introduction to Korean wedding customs.
The elements presented are of the case study type, showing the evolutions over time of a Korean family sampled for a PhD thesis. interesting for another scholarly work, it isn't so much for someone interested in understanding Korean marriage customs. Bits and pieces can be collected and summarised by oneself. This book is about "sociology", not "culture" per se.

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• Sales Rank: #368700 in Books
• Published on: 1999-06-30
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x .50" w x 7.00" l, 1.60 pounds
• Binding: Hardcover
• 174 pages

From Library Journal
More like expanded essays than exhaustive studies, these brief pieces are take radically different approaches to the perception and experience of buildings. Hildebrand (architecture/art history, Univ. of Washington), author of The Wright Space: Pattern and Meaning in Frank Lloyd Wright's Houses (Univ. of Washington, 1991), applies his considerable descriptive skills to examples from the history of architecture before and after the domestic work of Wright. Examining the spatial rhythms of his selections with evident pleasure and helpful clarity, Hildebrand applies the intriguing classifications of refuge and prospectAromantic enclosure vs. classical opennessAto describe interior space. More illustrations would help concretize the original and important observations here. To the degree that Hildebrand's volume explores the materiality of his examples, Leach (architecture, Univ. of Nottingham) focuses on the abstract and philosophical implications of his choices. The editor of Rethinking Architecture: A Reader in Cultural Theory (Routledge, 1997), Leach discusses the sometimes difficult theories of Walter Benjamin, Jean Baudrillard, and Guy Debord, among others, to make the point that the architectural preference for imagemaking, along with the sensory overload of our society, devalues, or anaesthetizes, our experience of their work. Leach expresses sharp indignation toward theories of post-Modernism; the writings of Robert Venturi, Scott Brown, and Steven Izenour; and the tendency in the style to dissociate form from content, though the offense he takes at a recruiting advertisement by the London firm of T.P. Bennett Associates seems insufficiently explained and remains puzzling. General academic collections will benefit from the addition of Hildebrand's study, while only highly specialized collections will require Leach's as well.APaul Glassman, New York Sch. of Interior Design Lib.
Copyright 1999 Reed Business Information, Inc.

Review
"Hildebrand has committed the equivalent of heresy as far as the mandarins of architectural academia are concerned. . . But Hildebrand's book is too good to be ignored or seriously criticized. He not only pursues his premise without insisting on it as the sole means of understanding architecture, but he also provides some of the best analytical descriptions of buildings available."--"Times Literary Supplement

From the Inside Flap
"Grant Hildebrand gives a vivid and cogent analysis of the ingredients that have made beautiful places throughout history, explaining what in our nature makes us feel that way. The examples and illustrations are striking and provide a compelling argument for his thesis. Important reading for anyone interested in the theory and practice of inventing a new architecture."—Robert J. Frasca, NAIA

"Hildebrand's notions of prospect and refuge, enticement, peril, and complex order open up views to an architectural thinking that is grounded in bio-cultural and ecological understandngs of spatial situations, thus complementing our quest for beauty. In fact, Grant Hildebrand suggests that aesthetic choice itself has motivation in early evolutionary stategies for survival. In order to provide satisfactory domicile for the urban dweller of the third millennium, architecture must continue to acknowledge the hunter, gatherer, and farmer concealed in the genetic coding of human behavior."—Juhani Pallasma, Architect

"This is a book of great originality, importance, and relevance. Grant Hildebrand offers us extraordinary insights regarding the dual and interactive relation of human biology and culture in the formation of our aesthetic responses to the built environment. His book could be very helpful to those architects, planners, and environmentalists seeking to better capture and restore the human biological relation to nature in our various architectural forms."—Stephen Kellert, author of The Value of Life: Biological Diversity and Human Existence

Most helpful customer reviews

4 of 5 people found the following review helpful.
A brilliant distilling of the fundamental appeal of great architecture... No matter what the style
By Diana Mann
I first heard about this book in my thesis year of architecture school when I attended a public lecture given by Grant Hildebrant at my University. I had been searching for a style of my own that made sense, would be timeless, and would be appreciated by people with wide ranging tastes. In this day and age we as designers and architects have so many options. The walls of convention have been completely obliterated by a rebellion against tradition and all the opportunities available with the continual growth of technology. This is a great freedom, however, it can also make it very difficult to find a true universally appealing style. What is so amazing about Grant Hildebrant's theories is that they can be applied to any structure of any style and can help us to understand why so many buildings, although stylistically very different, seem to appeal to everyone equally. As its name suggests, The Origins of Architectural Pleasure distills great architecture down to simple, fundamental principles that appeal to our deepest instincts. This then provides the framework on which any style can be applied to achieve consistently beautiful buildings of timeless, lasting, universal appeal. In fact, Grant is very humble about his theories and takes very little credit for them aside from organizing and putting in print what he believes we all already know deep down. That being said, the book is not the least bit preachy and is really a discussion of a few very simple principles that will change the way you look at the built environment. Whether you are a seasoned architect or are completely new to the world of architecture, the concepts are simple but make a big impression. Of all the books I've read on architecture, and there have been a lot, this is the one book that impacted the way I design the most. I would recommend it to anyone looking to enrich their view of architecture... In fact, I have recommended it to many of my colleagues, and friends. I even went out and bought extra copies so I wouldn't have to risk losing my own! I would absolutely love to move out west and study under Mr. Hildebrant, he really opened my eyes to see what was right in front of me.

1 of 1 people found the following review helpful.
architectural PLEASURE...
By Barbara Lien
I wish the other reviewer had actually had something to say about the quality of the book itself, which is a wonderful revelation about the deep reactions we all have (whether we recognize them or not) to architecture. Highly recommended.

0 of 10 people found the following review helpful.
Great Condition
By B. Cabral
The book was in awesome condition. If used books always come in this condition, I don't think I'll ever buy a new book again.

Thanks.

See all 3 customer reviews...

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