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Foreword
9
nomenologicalcoemcienttosocietalinteractionswithOther(ness).In
thissense,trusting,asPiotrSztompkaobserves,resemblesakindof
Hbet”placeduponcontingentandchronicallyunpredictableactions
performedbyotherindividuals.4Inthisway,trustingconstitutesacore
elementofHontologicalsecurity,”atermcoinedinordertoemphasise
thatcontingencymanagementisinstrumentalincopingwiththe
realityinhabitedbymyriadsofunpredictableOthersequippedwith
diversifiedpoliticalandeconomicagendas.5Consequently,thecultural
discourseoftrustisveryofenconceptualisedasavernacularofsocial
productivity,acategorywhoseintellectualoriginscanbetracedasfar
backastothelegacyofpoliticaltheoriescentreduponthenotionof
civilsocietyandtherelatedideaofcivicculture.Thediscourseoftrust
becomesavitaltoolenablingamoreinformedinsightintothecultural
significanceofmoderndemocraticandmulticulturalordersinwhich
thepoliticalconstructofcivilsocietyisfoundeduponthemechanisms
ofmultilateralreciprocityandsolidarityconceivedasdistinctformsof
thepublicgood.
Whenapproachedfromastrictlymethodologicalperspective,the
workaddressesthedichotomyofagencyandstructurewhichiscon-
ceivedhereasastartingpointforsyntheticconceptualisations,such
asAnthonyGiddens’sstructurationtheory,aimingtoprovideamore
holisticoutlookontheontologyofsocio-culturalrealities.Thesetheo-
riesareappliedtoformulateanoriginalmethodologicalframework
thatseessocio-culturalprocessesintermsofiterativeHtheatricalperfor-
mances.”Inthiscontext,modernizationprocesses(andthetransfor-
mationoftrustcultures)canbesubsumedwithinacognitivemodel
suggestingthatculturalprocessesmaybeconceivedasaspecificform
ofHtheatricalperformances.”Thetheatricalperformanceis,thus,con-
ceptualisedasaconstitutiveelementofsocio-culturalontologycom-
prisingtheexistenceofthestage(thespatialandtemporaldimensions
ofinterpersonalinteraction),thetext(thetotalityofstructuralresources
fromwhichindividualsdrawduringtheperformance),theprincipal
actorsgranteddominantrolesintheprocessofculturalreproduction
and,lastbutnotleast,theaudiencewhichobservesculturalprocesses
butisnotempoweredtoalterthem.
Inthecontextofthedelineatedtheatricalframework,therealmof
traditional,pre-moderncommunitymaybeinterpretedasadistinct
formoftrustcultureinwhichnetworksofmoralobligationsarean-
4PiotrSztompka,Trust.ASociologicalTheory(Cambridge:CambridgeUniver-
sityPress,1999),p.25.
5AnthonyGiddens,ModernityandSelf-Identity.SelfandSocietyintheLateMod-
ernAge(Stanford:StanfordUniversityPress,1991),p.243.
