Enchantment Examples
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Culture and Enchantment
Author: Mark A. Schneider
language: en
Publisher: University of Chicago Press
Release Date: 1993-12-15
Max Weber viewed modern life as disenchanted, an arena from which scientific inquiry had banished magic. In contrast, Mark Schneider argues intriguingly that enchantment—the sense that we are confronted by inexplicable phenomena—persists in the world today, although it has shifted from the natural to the cultural arena. Culture and Enchantment shows that students of culture today operate in social and intellectual circumstances similar to those of seventeenth-century natural philosophers. Just as Newton was drawn to alchemy, scholars today are fascinated by ghostly and mercurial agents thought to account for the meanings of cultural entities. For interpretive disciplines, Schneider suggests, meaning often behaves behaves as mysteriously as the apparitions pursued by centuries ago by natural philosophers. He demonstrates this using two case studies from anthropology: Clifford Geertz's description of Balinese cockfights and Yoruba statuary, and Claude Levi-Strauss's analyses of myths. These provide a basis for actively engaging disputes over the meaning and interpretation of culture. Culture and Enchantment will appeal to an interdisciplinary audience in anthropology, sociology, history, history and sociology of science, culture studies, and literary theory. Schneider's provocative arguments will make this book a fulcrum in the continuing debate over the nature and prospects of cultural inquiry.
Enchantment
Enchantment, as defined by bestselling business guru Guy Kawasaki, is not about manipulating people. It transforms situations and relationships. It converts hostility into civility and civility into affinity. It changes the skeptics and cynics into the believers and the undecided into the loyal. Enchantment can happen during a retail transaction, a high-level corporate negotiation, or a Facebook update. And when done right, it's more powerful than traditional persuasion, influence, or marketing techniques. Kawasaki argues that in business and personal interactions, your goal is not merely to get what you want but to bring about a voluntary, enduring, and delightful change in other people. By enlisting their own goals and desires, by being likable and trustworthy, and by framing a cause that others can embrace, you can change hearts, minds, and actions. For instance, enchantment is what enabled . . . • A Peace Corps volunteer to finesse a potentially violent confrontation with armed guerrillas. • A small cable channel (E!) to win the TV broadcast rights to radio superstar Howard Stern. • A seemingly crazy new running shoe (Vibram Five Fingers) to methodically build a passionate customer base. • A Canadian crystal maker (Nova Scotian Crystal) to turn observers into buyers. This book explains all the tactics you need to prepare and launch an enchantment campaign; to get the most from both push and pull technologies; and to enchant your customers, your employees, and even your boss. It shows how enchantment can turn difficult decisions your way, at times when intangibles mean more than hard facts. It will help you overcome other people's entrenched habits and defy the not-always-wise "wisdom of the crowd." Kawasaki's lessons are drawn from his tenure at one of the most enchanting organizations of all time, Apple, as well as his decades of experience as an entrepreneur and venture capitalist. There are few people in the world more qualified to teach you how to enchant people. As Kawasaki writes, "Want to change the world? Change caterpillars into butterflies? This takes more than run-of-the-mill relationships. You need to convince people to dream the same dream that you do." That's a big goal, but one that's possible for all of us.
The Aesthetics of Enchantment in the Fine Arts
Author: M. Kronegger
language: en
Publisher: Springer Science & Business Media
Release Date: 2013-03-14
Let us revive the true sense of fine arts: enchantment! In the conceptualised, commercialised, artificial approach to fine arts, we forgot its authentic experiential sense. It lies at the imaginative heart of all arts there to be retrieved by the creative recipient as the very 'truth of it all'.