Homo hierarchicus: the caste system and its implications by Louis Dumont

By Louis Dumont

Louis Dumont's glossy vintage, the following provided in an enlarged, revised, and corrected moment variation, at the same time provides that reader with the main cogent assertion at the Indian caste method and its organizing ideas and a provocative enhance within the comparability of societies at the foundation in their underlying ideologies. Dumont strikes gracefully from the ethnographic facts to the extent of the hierarchical ideology encrusted in historical spiritual texts that are published because the governing notion of the modern caste constitution. On one more airplane of research, homo hierarchicus is contrasted together with his sleek Western antithesis, homo aequalis.

This version encompasses a long new Preface within which Dumont reports the tutorial dialogue encouraged via Homo Hierarchicus and solutions his critics. a brand new Postface, which sketches the theoretical and comparative facets of the idea that of hierarchy, and 3 major Appendixes formerly passed over from the English translation entire this leading edge and influential work.

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Extra resources for Homo hierarchicus: the caste system and its implications

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These in turn are what make time-span reduction possible. So metrical structure serves as an essential input to time-span reduction. Most importantly, it should be noted that the two structures represent quite different kinds of intuitions about music. The metrical grid marks POINTS IN TIME. In the music itself, these points in time are associated with the onsets of events, not with the intervals of time the events occupy. But they also serve as reference points for coordinating extramusical activity with the music: the tick of the metronome, the tap of the foot, the low point of the conductor's beat, and the dancer's landing.

The rules of poetic meter are typically stated in terms of the matching of linguistic prosodic patterns with those determined by the inde­ pendently stipulated meter; by contrast, the GTTM rules of musical meter are stated in terms of using surface cues to pick out a metrical grid. Consequently, the "end-of-unit" constraint looks quite different in the two theories—more so than is warranted by the genuine differences between the materials over which the two versions of the constraint are stated.

In music, the distinction encodes time-span reductions as in the horizontal slices across (7), and it feeds the derivation of the prolongational reduction. W h a t might it feed in language, if anything? One obvious guess is syntax. If one were to a b a n d o n the terminology "strong-weak" and treat the distinction in prosodic trees as "head-elab­ oration" (or "head-modifier"), the prosodic trees might be able to express a kind of proto-syntax in which the elements of X structure begin to emerge and which might play a role in parsing spoken language.

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