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"Citadel" evokes a rich mixture of associations—from images of urban centers of commerce and culture to war and the need to defend what is fortified within. Preserving its layered meanings, O. K. Werckmeister plucks the word from its usual moorings and employs it as a compelling metaphor in a brilliant retrospective of contemporary Western culture.
For over a century, Europe has been characterised by a plurality of capitalist modernities. At any moment, each country possesses its own distinctly modern qualities which are partly shaped through interrelationships with other countries. Each European commodity society has experienced successive, but different overlapping, periods of industrial modernity (large scale factories and urban growth), high modernity (social modernization promoted by social engineering) and hypermodernity (the acceleration of modernity, yielding new circumstances and sensibilities). Interrogating contemporary hypermodern Europe thus requires an exploration of industrial and high modern Europe. Recognising European Modernities explores a century of civilisation through a critical examination of the extreme case of Sweden. Using montage - relayering multiple pasts and on-going present - the book challenges the contemporary obsession with postmodernity, demanding a deeper, more connective understanding of the pleasures and dangers of the European present. The author visits three spectacular spaces: the Stockholm Exhibition of 1897, the Stockholm Exhibition of 1930 and the Globe, a contemporary multi-purpose arena. Analysis of these pivotal spaces reveals the on-going process of modernization as new forms of consumption are repeatedly entangled in changing discourses of power to be reworked and translated into cultural politics.
Author Meaghan Morris asks how feminist culture critics can participate in political struggles about history. Questioning both contemporary cultural theory that imagines a world "beyond" history and feminist approaches to culture that minimize questions of economy, class, and nation, Morris argues that history created by popular culture is never truly "national" in scale or force. 11 photos.
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In this book the author offers a critique of Marxist culture in capitalist society. Focusing on some of the most celebrated instances of traditional "Western Marxism," the author shows how such "icons of the Left" have been progressively detached from their political roots in communist activism to the safe distance of utopian or revolutionary speculations.--Publisher's description.
This revised edition features ten new articles and is fully updated to take account of new critical approaches to post-war American art.
This book rejects apocalyptic pronouncements that the end of the millenium represents the 'end' of nature as well. Remaking Reality brings together contributors from across the human sciences who argue that a notion of 'social nature' provides great hope for the future. Applying a variety of theoretical approaches to social nature, and engaging with debates in politics, science, technology and social movements surrouding race, gender and class, the contributors explroe important and emerging sites where nature is now being remade with considerable social and ecological consequences. The essays are organised around two themes: 'capitalising and envisioning nature' and 'actors, networks and the politics of hybridity'. An afterword by Neil Smith reflects on the problems and possibilities of future names. For critics and activists alike, Remaking Reality provides essential theoretical and political tools to rethink environmentalism and progressive social natures for the twenty first century.
To understand contemporary times, we must appreciate the extent to which our lives are affected by the cultural and political struggle between "official" narratives and the counternarratives which emerge as oppositional responses. Counternarratives develops a concept of "postmodern counternarratives" as a frame for exploring the politics of media, technology and education within everyday struggles for human identities and loyalties. The authors identify two forms of counternarratives. One functions as a critique of the modernist propensity for grand narratives. The second concept, which is the focus of the book, builds on the first; the idea of "little stories" addressing cultural and political opposition to the "official" narratives used to manipulate public consciousness. Each marks an important point of contestation within contemporary education and culture: curriculum, pedagogy, literacy, media representations and applications of new technologies.
Most travellers to Vietnam will, at some point, visit a Cham tower or view some Cham artefacts in a museum. These were left behind by the Cham people of the now-vanished kingdom of Champa. They are unique, exquisite and mythical. The people who built and carved these beautiful works once inhabited central Vietnam and the northern part of the south, which stretches over 1,000 kilometres from north to south. Today, with a population of less than 200,000, the Chams live primarily in Ninh Thuận, Bình Thuận and other provinces in the Mekong Delta. Champa’s history is broadly divided into three eras: the First Era (5th to 10th centuries), the Second (10th to 15th centuries) and the Third (15th to 19th centuries). This book deals with the First Era, including the three great Houses of Gaṅgārāja, Vicitrasagara and Ujora at three locations. The first house is associated with Simhapura, modern Trà Kiệu in Quảng Nam province. The second house is connected with Virapura and Po Nagar in Panduranga and Kauthara, present-day Ninh Thuận, Bình Thuận and Khánh Hòa provinces. The third house is linked with Indrapura, Đồng Dương Monastery in Quảng Nam province. The book also presents an overview of Champa, a description of the Cham tower and maps of Cham ruins in Quảng Bình, Quảng Trị and Thừa Thiên-Huế provinces. To collect materials for this volume, the author visited most of the sites mentioned in the book and referred to Cham inscriptions, Chinese and Vietnamese historical works. Dr. Anne-Valérie Schweyer, the Research Director at CNRS (The French National Centre for Scientific Research), an epigraphist and a world-leading scholar in Champa studies, commented and wrote the foreword for the book. She concludes, “Through his travels, Tan Pham unravels the history and art of the Cham kingdoms from the time of their creation to their apogee, while at the same time making their present-day presence visible. It is a great pleasure to follow in his footsteps, which lead to a better understanding of a glorious part of Việt Nam's history.” This book is Volume 3B of the book series, A Traveller’s Story of Vietnam’s Past; it continues where Volume II, One Thousand Years - The Stories of Giao Châu, the Kingdoms of Linyi, Funan and Zhenla, ends. The book has 384 pages and contains 235 figures and illustrations. A shortened Table of Contents is shown below. Chapter 1 – A summary of this book Chapter 2 – A general overview of Champa 2.1 - The land and its people 2.2 - A trip to the past 2.3 - Champa and Đại Việt (10th to 15th centuries) 2.4 - Champa and the Khmer Empire (10th to 15th centuries) 2.5 - The religions of Champa 2.6 - A tour of Champa Chapter 3 – The towers of Champa 3.1 - The design of a Cham tower 3.2 - The bricks and the resin adhesive 3.3 - Champa deities and icons Chapter 4 – Panduranga – Land of the gods and vineyards, the House of Vicitrasagara – Champa (8th to 9th centuries) Chapter 5 – Po Nagar (Mother of the Land) Temple Chapter 6 – Indrapura, the House of Uroja – Champa (9th to 10th centuries) Chapter 7 – Indrapura and Buddhist Monasteries 7.1 - Indrapura and Buddhism 7.2 - The Đồng Dương Buddhist Monastery Chapter 8 – The Cham ruins and artefacts of Quảng Bình province Chapter 9 – The Cham ruins and artefacts of Quảng Trị province Chapter 10 – The Cham ruins and artefacts of Thừa Thiên-Huế province Chapter 11 – Conclusion Appendix 1 – Wuli, Chiêm Động, Ulik and other names of places in Champa Biography
Passionate, witty, and erudite, these essays by a radical curator describe how museums approach their sometimes conflicting missions to sponsor scholarship, generate popular appeal, and claim social significance. This analysis includes discussions of art and ethnology, the failure of late-Modernist art history, the construction of official culture, the intellectual history of European exploration in the Pacific, problems with cultural studies of the Pakeha Maori, and the conservation of archives and narratives.