How are Trump and Brexit direct responses to the loneliness and the uprootedness?
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The three speeches trace a path toward ever greater uprootedness, itineracy and disconnection.
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Both groups exist at the margins of Italian society, despised, pitied and ignored, but they experience that marginality, and their own uprootedness, in ways that reflect radically different histories.
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Weil conceives uprootedness as a condition where people lack deep and living connections with their environment Weil later says people need multiple roots with different environments - their county, their professional milieu and their neighbourhood. It is aggravated if people also lack participation in community life. Uprooted people lack connections with the past and a sense of their own integral place in the world. Uprootedness has many causes, with two of the most potent being conquest of a nation by foreigners and the growing influence of money which tends to corrode most other forms of motivation.
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Sisteron in south east France. Weil considered that the nascent civilisation which existed in the Provence region before the Albigensian Crusade had a culture where labour was free from all "taint of slavery" and the spiritual dimension of work was recognised. Weil asserts that in 20th century France and elsewhere the condition of uprootedness is most advanced in towns, especially among the lower paid workers who have a total dependence on money. Weil writes their uprootedness is so severe it's effectively as though they had been banished from their own country and then temporally reinstated on sufferance, forced by oppressive employers to have almost their entire attention taken up with drudgery and piecework.
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'His origins, training and experience seem as if designed to produce that complex of rootedness and spiritual uprootedness that so often gives the artist's special oblique angle of view.'Lomas 1978, 7. National Press opinions of his early verseTimes Literary Supplement, Glasgow Herald, Birmingham Post, etc., cited in To Suffolk volume.
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The book is divided into three parts. Part 1 is subdivided into fourteen sections, each dealing with a specific human need. Collectively these are referred to as 'needs of the soul'. Part 2 is subdivided into three sections, dealing with the concept of uprootedness in relation to urban life, to rural life and to nationhood.
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Copland incorporated many jazz elements into his concerto. MellersWilfrid Mellers, Music in a New Found Land (New York: Oxford University Press, 1964), p.85 quoted in ibid., p.518 —Copland being representative of the American "Other"— links Copland’s affinity for jazz elements with the fact that “both Negro and Jew are dispossessed people who have become, in a cosmopolitan urban society, representative of man’s uprootedness.” Copland himselfPollack, Howard.
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For the urban poor without work it's even worse, unemployment is described as "uprootedness squared." The gulf between high culture from the mass of the people that has been widening since the renaissance is another factor contributing to up rootedness. Education now has only limited effect in helping to create roots as academic culture has lost its connection both with this world and the next. Many academics have become obsessed with learning not for a desire for knowledge for its own sake but due to the utility it offers for attaining social prestige.
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Gannit Ankori. Continuing her research on contemporary Israeli art, Dr. Sheffi recently delivered lectures at the Summer University for Jewish Studies, Hohenems, Austria (“Food in Modern Israeli Art”); The Jewish Museum, Munich (“Reflection on the ‘other’: The image of the Arab in Israeli Art”); and at the American University, Washington DC at the conference Refugees and Asylum Seekers in Israel (“Portraying states of uprootedness in Israeli art”). Dr. Sheffi is Chief Curator of the CACR – Contemporary Art Center Ramla, a new art initiative she launched in 2019. The curatorial program led by Dr. Sheffi embraces difference and multiple viewpoints as core values, addressing issues of diversity and civil society as reflected in contemporary Israeli art.
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Cowley was one of the many literary and artistic figures who migrated to Paris in the 1920s. He became one of the best-known chroniclers of the American expatriates in Europe, as he frequently spent time with writers like Ernest Hemingway, F. Scott Fitzgerald, John Dos Passos, Ezra Pound, Gertrude Stein, E. E. Cummings, Edmund Wilson, Erskine Caldwell, and others associated with American literary modernism. In Blue Juniata, Cowley described these Americans who travelled abroad during the postwar period as a "wandering, landless, uprooted generation"; similarly Hemingway, claiming to have taken the phrase from Gertrude Stein, called them the "lost generation". This sense of uprootedness deeply affected Cowley's appreciation for the necessities of artistic freedom.
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The work diagnoses the causes of the social, cultural and spiritual malaise which Weil saw as afflicting 20th century civilisation, particularly Europe but also the rest of the world. 'Uprootedness' is defined as a near universal condition resulting from the destruction of ties with the past and the dissolution of community. Weil specifies the requirements that must be met so that peoples can once again feel rooted, in a cultural and spiritual sense, to their environment and to both the past and to expectations for the future. The book discusses the political, cultural and spiritual currents that ought to be nurtured so that people have access to sources of energy which will help them lead fulfilling, joyful and morally good lives.
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The film presents violence as an unavoidable stage in the conflict between colonizer and colonized; in this regard, Lakhdar-Hamina chose to focus on the predicament of Algerian peasant communities and emphasized the gap that separated the rural Algerian peasantry from the wealthy French colonists. One of the movie’s main message appears to be that, just as violence begets more violence, so colonialism can only be fought through a violent uprising. The transformation of Ahmad from illiterate peasant to revolutionary leader symbolizes the maturation of an independent national consciousness aimed at national liberation. From a cinematographic point of view, Chronicle makes use of camera techniques that emphasize feelings of uprootedness, deprivation, and suffering caused by a colonial system of exploitation.
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Weil discussed how uprootedness is a self- propagating condition, giving the example of the Romans and Germans after World War I as uprooted people who set about uprooting others. Whoever is rooted doesn't uproot others - Weil opines that the worst examples of misconduct by the Spanish and English during the colonial age were from adventurers who lacked deep connections with the life of their own countries. Both the left and right include activists who want the working class to be rooted again, but on the left there is sizeable contingent who merely want everyone to be reduced to the same level of unrootedness as the proletariats, and on the right a section who want the workers to remain unrooted the better to be able to exploit them. Disunity prevents good intentioned activists from having much effect.
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Weil writes that though uprootedness is not as far advanced in the countryside as in towns, the needs of the peasants should receive equal attention to the need of industrial workers: firstly because it is contrary to nature for the land to be worked by uprooted individuals and secondly as one of the causes of the peasant's distress is the feeling that progressive movements ignore them in favour of industrial workers. A peasant's requirements include a strong need to own land, which is important for them to feel rooted. Boredom can be a problem as many peasants do the same work throughout their lives, starting from about age 14. Weil suggests a tradition should be established for peasant youths take a few months out for travel in their late teens, similar to the tour de France that used to exist for apprentice artisans.
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