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The Walking Dead and Philosophy: Shotgun. Machete. Reason. by Christopher Robichaud

By Christopher Robichaud

The tale of The jogging lifeless chronicles the lives of a bunch of survivors within the wake of a zombie apocalypse. The jogging useless is an Eisner-award successful comedian e-book sequence through author Robert Kirkman. began in 2003, the comedian publication maintains to post per thirty days and has released a complete of ninety two matters. the recognition of this comedian booklet sequence ended in picture novel guides (see competing titles) in addition to the severely acclaimed television model on AMC. The strolling useless is AMC's highest-rated express ever surpassing even Mad Men's rankings at its height. either the comedian publication sequence and television convey strength us to confront our such a lot adored values and ask: could we nonetheless be capable of carry onto these items in the sort of international? What are we allowed to do? What aren't we? Are there any barriers left? The jogging lifeless and Philosophy will solution those and different questions: Is it alright to "opt out?" Is it morally applicable to desert Merle? What occurs to legislation in a post-zombie international? Does marriage have any that means anymore? What accountability do survivors need to one another?

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Extra resources for The Walking Dead and Philosophy: Shotgun. Machete. Reason. (The Blackwell Philosophy and Pop Culture Series)

Sample text

We want to claim that it is the conscious articulation - the process of naming, defining, and making coherent - which distinguishes tradition from custom or habit, which are similar in that they all deal with recurrence. Custom, for us, refers to beliefs and practices which are less articulated than tradition, less durable and more short-lived, and thus more easily altered. Habits, on the other hand, refer to individualized forms of behavior and not to the ideas, beliefs, or practices of groups or entire societies.

The important thing - for musicologists, historians, and folklorists alike, as well as for many practi­ tioners and their audiences - seems to be to draw distinctions, to define 38 Taking traditions seriously boundaries, and to characterize the contours of one tradition in opposition to others. But where do traditions come from? And why are some traditions period­ ically reorganized into new formations or configurations? Even more importantly, why do some traditions play a stronger role in cultural trans­ formation than others?

They [the festi­ vals] could express or encourage local solidarity or internal struggle, celebration or opposition" (Kaplan 1992: 1). For the established political Where do traditions come from? 37 and religious institutions, these ritualized events were intended to reaffirm and legitimate their established power and authority. But such authorities could not control how the same events were interpreted and used by those who participated. In this case rituals that were intended to reaffirm author­ ity actually contributed to the reverse, as the participants, including the group of rebellious artists of which the young Picasso was a part, used the occasions to promote alternative visions and group solidarities.

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