What is the source of Obama s power? How is it that, after suffering a humiliating defeat in the 2010 mid-term elections, Obama was able to turn the situation around, deftly outmaneuvering his opponent and achieving a decisive victory in the November 2012 presidential election? In this short and brilliant book, Jeffrey Alexander and Bernadette Jaworsky argue that neither money nor demography can explain this dramatic turnaround. What made it possible, they show, was cultural reconstruction. Realizing he had failed to provide a compelling narrative of his power, the President began forging a new salvation story. It portrayed the Republican austerity budget as a sop to the wealthy, and Obama as a courageous hero fighting for plain folks against the rich. The reinvigorated cultural performance pushed the Tea Party off the political stage in 2011, and Mitt Romney became fodder for the script in 2012. Democrats painted their Republican opponent as a backward-looking elitist, a Bain-capitalist whose election would threaten the civil solidarity upon which democracy depends. Real world events can spoil even the most effective script. Obama faced monthly unemployment numbers, the daunting Bin Laden raid, three live debates, and Hurricane Sandy. The clumsiness of his opponent and his own good fortune helped the President, but it was the poise and felicity of his improvisations that allowed him to succeed a second time. Converting events into plot points, the President demonstrated the flair for the dramatic that has made him one of the most effective politicians of modern times. While persuasively explaining Obama s success, this book also demonstrates a fundamental but rarely appreciated truth about political power in modern democratic societies namely, that winning power and holding on to it have as much to do with the ability to use symbols effectively and tell good stories as anything else.

In this book Jeffrey Alexander develops the view that cultural sociology and cultural pragmatics are vital for understanding the structural turbulence and political possibilities of contemporary social life. Central to Alexander s approach is a new model of social performance that combines elements from both the theatrical avant-garde and modern social theory. He uses this model to shed new light on a wide range of social actors, movements, and events, demonstrating through striking empirical examples the drama of social life. Producing successful dramas determines the outcome of social movements and provides the keys to political power. Modernity has neither eliminated aura nor suppressed authenticity; on the contrary, they are available to social actors who can perform them in compelling ways. This volume further consolidates Alexander s reputation as one of the most original social thinkers of our time. It will be of great interest to students and scholars in sociology and cultural studies as well as throughout the social sciences and humanities.

In this book Jeffrey Alexander develops a new sociological theory of social crisis and applies it to a wide range of cases, from the church paedophilia crisis to the #MeToo movement. He argues that crises are triggered not by objective social strains but by the discourse and institutions of the civil sphere. When strains become subject to the utopian aspirations of the civil sphere, there emerges widespread anguish about social justice and the future of democratic life. Once admired institutional elites come to be represented as perpetrators and the civil sphere becomes legally and organizationally intrusive, demanding repairs in the name of civil purification. Resisting such repair, institutional elites foment backlash, and a war of the spheres ensues. This major new work by one of the world's leading social theorists will be of great interest to students and scholars in sociology, politics, and the social sciences generally.

What is the source of Obama s power? How is it that, after suffering a humiliating defeat in the 2010 mid-term elections, Obama was able to turn the situation around, deftly outmaneuvering his opponent and achieving a decisive victory in the November 2012 presidential election? In this short and brilliant book, Jeffrey Alexander and Bernadette Jaworsky argue that neither money nor demography can explain this dramatic turnaround. What made it possible, they show, was cultural reconstruction. Realizing he had failed to provide a compelling narrative of his power, the President began forging a new salvation story. It portrayed the Republican austerity budget as a sop to the wealthy, and Obama as a courageous hero fighting for plain folks against the rich. The reinvigorated cultural performance pushed the Tea Party off the political stage in 2011, and Mitt Romney became fodder for the script in 2012. Democrats painted their Republican opponent as a backward-looking elitist, a Bain-capitalist whose election would threaten the civil solidarity upon which democracy depends. Real world events can spoil even the most effective script. Obama faced monthly unemployment numbers, the daunting Bin Laden raid, three live debates, and Hurricane Sandy. The clumsiness of his opponent and his own good fortune helped the President, but it was the poise and felicity of his improvisations that allowed him to succeed a second time. Converting events into plot points, the President demonstrated the flair for the dramatic that has made him one of the most effective politicians of modern times. While persuasively explaining Obama s success, this book also demonstrates a fundamental but rarely appreciated truth about political power in modern democratic societies namely, that winning power and holding on to it have as much to do with the ability to use symbols effectively and tell good stories as anything else.

In this book Jeffrey Alexander develops the view that cultural sociology and cultural pragmatics are vital for understanding the structural turbulence and political possibilities of contemporary social life. Central to Alexander s approach is a new model of social performance that combines elements from both the theatrical avant-garde and modern social theory. He uses this model to shed new light on a wide range of social actors, movements, and events, demonstrating through striking empirical examples the drama of social life. Producing successful dramas determines the outcome of social movements and provides the keys to political power. Modernity has neither eliminated aura nor suppressed authenticity; on the contrary, they are available to social actors who can perform them in compelling ways. This volume further consolidates Alexander s reputation as one of the most original social thinkers of our time. It will be of great interest to students and scholars in sociology and cultural studies as well as throughout the social sciences and humanities.

In this book Jeffrey Alexander develops a new sociological theory of social crisis and applies it to a wide range of cases, from the church paedophilia crisis to the #MeToo movement. He argues that crises are triggered not by objective social strains but by the discourse and institutions of the civil sphere. When strains become subject to the utopian aspirations of the civil sphere, there emerges widespread anguish about social justice and the future of democratic life. Once admired institutional elites come to be represented as perpetrators and the civil sphere becomes legally and organizationally intrusive, demanding repairs in the name of civil purification. Resisting such repair, institutional elites foment backlash, and a war of the spheres ensues. This major new work by one of the world's leading social theorists will be of great interest to students and scholars in sociology, politics, and the social sciences generally.

In this book Jeffrey C. Alexander develops an original social theory of trauma and uses it to carry out a series of empirical investigations into social suffering around the globe.

Alexander argues that traumas are not merely psychological but collective experiences, and that trauma work plays a key role in defining the origins and outcomes of critical social conflicts. He outlines a model of trauma work that relates interests of carrier groups, competing narrative identifications of victim and perpetrator, utopian and dystopian proposals for trauma resolution, the performative power of constructed events, and the distribution of organizational resources.

Alexander explores these processes in richly textured case studies of cultural-trauma origins and effects, from the universalism of the Holocaust to the particularism of the Israeli right, from postcolonial battles over the Partition of India and Pakistan to the invisibility of the Rape of Nanjing in Maoist China. In a particularly controversial chapter, Alexander describes the idealizing discourse of globalization as a trauma-response to the Cold War.

Contemporary societies have often been described as more concerned with the past than the future, more with tragedy than progress. In "Trauma: A Social Theory," Alexander explains why.

In this book Jeffrey C. Alexander develops an original social theory of trauma and uses it to carry out a series of empirical investigations into social suffering around the globe.

Alexander argues that traumas are not merely psychological but collective experiences, and that trauma work plays a key role in defining the origins and outcomes of critical social conflicts. He outlines a model of trauma work that relates interests of carrier groups, competing narrative identifications of victim and perpetrator, utopian and dystopian proposals for trauma resolution, the performative power of constructed events, and the distribution of organizational resources.

Alexander explores these processes in richly textured case studies of cultural-trauma origins and effects, from the universalism of the Holocaust to the particularism of the Israeli right, from postcolonial battles over the Partition of India and Pakistan to the invisibility of the Rape of Nanjing in Maoist China. In a particularly controversial chapter, Alexander describes the idealizing discourse of globalization as a trauma-response to the Cold War.

Contemporary societies have often been described as more concerned with the past than the future, more with tragedy than progress. In "Trauma: A Social Theory," Alexander explains why.

While everyone else headed off to college, small town girl, Autumn Malone, stays behind to help manage her family's failing restaurant. Two years later when a scholarship at Adelphi University comes her way, she can't resist the chance to start a new life. The one thing that she isn't planning on...is falling for irresistible Vinny Mazzola. To outsiders, Hamptons born Vinny Mazzola has it all: good looks, money, and an esteemed reputation. While studying business at Adelphi, the last thing he expects to do is fall in love with awkward Autumn Malone who forces him to ask himself what's really important in life. When the opportunity arises for Autumn to work at Vinny's family-owned Italian restaurant, Mazzolas, it seems like a perfect way for her to get to know him better. That is until she meets his over protective mother and his conceited ex-girlfriend who both want nothing more than to get rid of her. Between frats, family, friends, and foes, when it comes down to business, will Vinny and Autumn have to sacrifice everything for a love they can't live without?