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This book provides a detailed historical and design analysis of the development of parks and modern landscape architecture in late 20th century China. It questions whether the fusion of international influences with the local Chinese design vocabulary in late 20th century China has created a distinctive and novel approach to the design of public parks. Hybrid Modernity proposes a new theory for examining the design of public parks built in post-Mao China since the reforms and sets the various processes for China’s late 20th century socio-cultural context. Drawing on modernization theory, research on China’s modernity, local and global cultural trends, it illustrates through a range of case studies ways hybrid modernity defines a new design genre and language for the spatial forms of parks that emerged in China’s secondary cities. Featured case studies include the Living Water Park in Chengdu, Sichuan province, Zhongshan Shipyard Park in Guangdong Province, Jinji Lake Landscape Master Plan in Suzhou, Jiangsu province, and the West Lake Southern Scenic Area Master Plan in Hangzhou, Zhejiang province. This book argues that these forms represent a new stage in China’s history of landscape architecture. The work reveals that as a new profession, landscape architecture has greatly contributed to China’s massive urban experiment. This book is an ideal read for students enrolled in landscape architecture, architecture, fine arts and urban planning programs who are engaged in learning the arts and international design education.
A look at how the 1931 International Colonial Exposition in Paris created hybrids of French and colonial culture.
Examines the threats to Latin American cultural identity in a global marketplace - now with a new introduction!
Hybrids of Modernity considers the relationship between three Western modernist institutions: anthropology, the nation state and the universal exhibition, in particular examining the emergence of culture as a commodity.
French sociologist and philosopher, Bruno Latour, is one of the most significant and creative thinkers of the last decades. Bruno Latour: Hybrid Thoughts in a Hybrid World is the first comprehensive and accessible English-language introduction to this multi-faceted work. The book focuses on core Latourian themes: • contribution to science studies (STS – Science, Technology & Society) • philosophical approach to the rise and fall of modernity • innovative thoughts on politics, nature, and ecology • contribution to the branch of sociology known as ANT – Actor-Network Theory. With ANT, Latour has pioneered an approach to socio-cultural analysis built on the notion that social life arises in complex networks of actants – people, things, ideas, norms, technologies, and so on – influencing each other in dynamic ways. This book explores how Latour helps us make sense of the changing interrelations of science, technology, society, nature, and politics beyond modernity.
In Shanghai in the early twentieth century, a hybrid theatrical form, wenmingxi, emerged that was based on Western spoken theatre, classical Chinese theatre, and a Japanese hybrid form known as shinpa. This book places it in the context of its hybridized literary and performance elements, giving it a definitive place in modern Chinese theatre.
Hybrids of Modernity considers the relationship between three western modernist institutions: anthropology, the nation state and the universal exhibition. It looks at the ways in which these institutions are linked, in how they are engaged in the objectification of culture, and in how they have themselves become objects of cultural theory, the targets of critics who claim that despite their continuing visibility these are all institutions with questionable viability in the late 20th century. Through analysis of the Universal Exhibition held in seville in 1992, the themes of culture, nationality and technology are explored. Particular attention is paid to how "culture" is produced and put to work by the national and corporate participants, and to the relationship between the emergence of culture as commodity and the way in which the concept is employed in contemporary cultural theory.
This collection of essays explores hybridity in early modern art through two primary lenses: hybrid media and hybrid time. The varied approaches in the volume to theories of hybridity reflect the increased presence in art historical scholarship of interdisciplinary frameworks that extend art historical inquiry beyond the single time or material. The essays engage with what happens when an object is considered beyond the point of origin or as a legend of information, the implications of the juxtaposition of disparate media, how the meaning of an object alters over time, and what the conspicuous use of out-of-date styles means for the patron, artist, and/or viewer. Essays examine both canonical and lesser-known works produced by European artists in Italy, northern Europe, and colonial Peru, ca. 1400–1600. The book will be of interest to art historians, visual culture historians, and early modern historians.
Critically deploying the idea of uneven and combined development this book provides a novel non-Eurocentric account of Iran’s experience of modernity and revolution. Recasting Iranian Modernity presents the argument that Eurocentrism can be decisively overcome through a social theory that has international relations at its ontological core. This will enable a conception of history in which there is an intrinsic international dimension to social change that prevents historical repetition. This hitherto under-theorized international dimension is, the book argues, manifest in combined patterns of development, which incorporate both foreign and native forms. It is the tension-prone and unstable nature of these hybrid developmental patterns that mark Iranian modernity, and fuelled the socio-political dynamics of the 1979 revolution and the rise of political Islam. Challenging solely comparative approaches to the Iranian Revolution that explain it away as either a deviation from, or a reaction to, modernity on the grounds of its religious form, this book will be valuable to those interested in an alternative theoretical approach to the Iranian Revolution, modern Iran and political Islam, working in the fields of International Relations, Middle East and Islamic Studies, History, Political Science, Political Sociology, Postcolonialism, and Comparative Politics.
‘Bauman, Elias and Latour on Modernity and Its Alternatives’ provides a comparison between the conceptions of modernity and its alternatives in the works of Bauman, Elias and Latour. Their work and research are linked to their distinct views on modernity and its alternatives. For Bauman, the rationality, effectiveness and impersonality that characterize present-day bureaucratic apparatuses are the distinguishing features of modernity. Its post-modern or ‘liquid’ alternative has none of these traits. For Elias, modernity has two different and contrasting faces, that of civilization and barbarity. Elias conceives of civilization as a process connoted by self-control and pacification, which prevail as a consequence of the restraint which honor and morality exert on individuals. By contrast, the breakdown of civilization involves barbarity. For Latour, modernity if defined by a separation between society and nature, or humans and non-humans, has never existed. By virtue of their intimate association, humans and non-humans have formed hybrids, whose proliferation is the hallmark of our age. Modernity, therefore, has never prevailed. Alternatives to hybrids are, in the current age, failed hybrids. The set of alternatives is then as follows: modernity vs. post-modernity (Bauman); civilization vs. barbarity (Elias); and successful vs. unsuccessful hybrids (Latour).