The role of religion and political rule

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Use the book, presentation slides and review the three lecture videos on the topic to answer one of
the following four questions (in no more than roughly 300-400 words):
1) What does the traditional sociology literature assert regarding the role of religion and political rule?
Provide some specific citations. Then, compare and contrast that with how, according to this book,
(Abrahamic) monotheisms could have contrasted with those main ideas (Chapters 1 & 2). Conclude by
offering a critique.
2) What do the claims and findings in Chapter 6 imply about institutional change in Europe in the 16th
century? How and why are they relevant for the classic institutions and development literature which we
studied in class? (Recall that, according to the conventional view, institutions evolve slowly and mostly on
account of domestic power struggles.)
3) How do the results in Chapter 7 relate to the importance of culture in conflict? And, by extension, what
do they imply about how culture and institutions were influencing one another?
4) Briefly summarize the longer-term effects of Ottoman versus European conflicts on European social,
political and economic change in the longer-run (Chapters 8, 9 and 10). Provide an assessment and
critique of the “institutions cause economic development” view in light of this content.

subgenre and culture that worked out as expected in the cutting edge advanced age. The expression “vaporwave” was begat in 2011, by record maker Will Burnett subsequent to hearing crafted by numerous craftsmen of the time (Galil). Vaporwave is an American based sort with establishes in chillwave, surrounding and vanguard music.

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The subgenre depends intensely on visual craftsmanship; a tune is indistinguishable from the collection spread or workmanship made with it. Basic themes incorporate the shopping center, old outdated innovation, Greek busts, Japanese workmanship styles, and the sea (Chandler, Escaping Reality). These pictures, however apparently customary, consider American commercialization, and the certainty of the fall of private enterprise.

Craftsmen in the vaporwave “tasteful” align themselves intensely with a gathering called the Situationists, a worldwide radical gathering dynamic in the late ’50s who announced that “Free enterprise conceals its actual nature by diverting us with an unending arrangement of ‘exhibitions'” (Chandler, Music of the Spectacle). The scene, as they trusted it, enters through the lives and brains surprisingly by mass measures of media and purposeful publicity in each territory of day by day life. The objective of making music in the vaporwave kind is to make you see pictures – like a shopping center or room – and never again feel great or typical in those spaces. What starts off as a moderate interpretation of an old 80’s nostalgic hit, turns into the clashing acknowledgment that material things don’t last. Simultaneously, a significant number of the specialists in the Post Cold War Era of the late 1990s and mid 2000s needed to make a socially comprehensive perfect world for audience members (Chandler, Genre As Method). This appears to be an inconsistency; for what reason would one make a socially comprehensive bit of work when their own goals are radicalized on the opposite finish of the range?

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The media doesn’t victimize who goes over every TV ad, radio advertisement, or road sign; there is only a consistent progression of boosts from the media to anybody around to see it. On the off chance that broad communications doesn’t choose certain socioeconomics for its audience members, at that point neither should craftsmen. This makes a “non-prejudicial social perfect world” (Chandler, Music of the Spectacle).

These artists tend towards shelter another part of reasoning

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