What makes the “Capstone A” (central on the banners outside Manly Hall in my photo above) special? What makes people associate it with the University of Alabama? It is not something inherent in the font or colors that gives it a different significance from any other uppercase A. It has been a long-term, extremely successful effort at branding by the University of Alabama, and especially its athletic programs, that give the symbol a generally positive, sometimes passionate, association with the University. To keep that significance as something set apart, the university restricts the use of this trademarked A. Outside companies, and even departments and organizations on campus, must go through an approval process to put the A (or any university symbol) on a t-shirt or mug, for example. For people outside the university, that process requires buying a license to use it, as the local bakery featured in this recent Marketplace story had to do. Continue reading
As I remarked to someone on Facebook some years ago, all it takes is a slight tweak in some of our cherished texts in the study of religion to make plain how problematic the work actually is — i.e., how deeply embedded the argument is in a set of presumptions about the world that likely need to be examined instead of simply assumed.
Case in point: consider replacing the words “sacred” and “profane” as follows in this famous passage:
If we should attempt to summarize the result of the descriptions that have been presented in this chapter, we could say that the experience of funny space makes possible the “founding of the world”: where the funny manifests itself in space, the real unveils itself, the world comes into existence. But the irruption of the funny does not only project a fixed point into the formless fluidity of humorless space, a center into chaos; it also effects a break in plane, that is, it opens communication between the cosmic planes (between earth and heaven) and makes possible ontological passage from one mode of being to another. It is such a break in the heterogeneity of humorless space that creates the center through which communication with the trans-serious is established, that, consequently, founds the world, for the center renders orientation possible. Hence the manifestation of the funny in space has a cosmological valence; every spatial asteiophany [Greek asteios, funny] or humorification of a space is equivalent to a cosmogony. The first conclusion we might draw would be: the world becomes apprehensible as world, as cosmos, in the measure in which it reveals itself as a funny world.
Source: Mircea Eliade, Chapter 2 of The Sacred and the Profane: The Nature of Religion (1959).
A portion of it collapsed under the weight of the locks. Continue reading