Contested Modernity

Discussions of the Arab world, particularly the Gulf States, increasingly focus on sectarianism and autocratic rule. These features are often attributed to the dominance of monarchs, Islamists, oil, and ‘ancient hatreds’. To understand their rise, however, one has to turn to a largely forgotten but decisive episode with far-reaching repercussions – Bahrain under British colonial rule in the early twentieth century. Drawing on a wealth of previously unexamined Arabic literature as well as British archives, Omar AlShehabi details how sectarianism emerged as a modern phenomenon in Bahrain. He shows how absolutist rule was born in the Gulf, under the tutelage of the British Raj, to counter nationalist and anti-colonial movements tied to the al-Nahda renaissance in the wider Arab world. A groundbreaking work, Contested Modernity challenges us to reconsider not only how we see the Gulf but the Middle East as a whole.

Sjoerd Griffioen investigates the polemics between Löwith, Blumenberg and Schmitt in the German secularization debate (1950’s-1980’s). ‘Secularization’ is revealed as a contested concept in ideological struggles over modernity and religion, both in this debate and contemporary postsecularism.

This is a managerial survey and reinterpretation of the Enlightenment. The text offers an assessment of the nature and development of the important currents in philosophical thinking arguing that supposed national enlightenments are of less significance than the rift between conservative and radical thought.

Explores concepts of performance, modernity and progress by combining performance studies and historical research with contextualised readings of Synge's plays.

When New Mexico became an alternative cultural frontier for avant-garde Anglo-American writers and artists in the early twentieth century, the region was still largely populated by Spanish-speaking Hispanos. Anglos who came in search of new personal and aesthetic freedoms found inspiration for their modernist ventures in Hispano art forms. Yet, when these arrivistes elevated a particular model of Spanish colonial art through their preservationist endeavors and the marketplace, practicing Hispano artists found themselves working under a new set of patronage relationships and under new aesthetic expectations that tied their art to a static vision of the Spanish colonial past. In A Contested Art, historian Stephanie Lewthwaite examines the complex Hispano response to these aesthetic dictates and suggests that cultural encounters and appropriation produced not only conflict and loss but also new transformations in Hispano art as the artists experimented with colonial art forms and modernist trends in painting, photography, and sculpture. Drawing on native and non-native sources of inspiration, they generated alternative lines of modernist innovation and mestizo creativity. These lines expressed Hispanos’ cultural and ethnic affiliations with local Native peoples and with Mexico, and presented a vision of New Mexico as a place shaped by the fissures of modernity and the dynamics of cultural conflict and exchange. A richly illustrated work of cultural history, this first book-length treatment explores the important yet neglected role Hispano artists played in shaping the world of modernism in twentieth-century New Mexico. A Contested Art places Hispano artists at the center of narratives about modernism while bringing Hispano art into dialogue with the cultural experiences of Mexicans, Chicanas/os, and Native Americans. In doing so, it rewrites a chapter in the history of both modernism and Hispano art. Published in cooperation with The William P. Clements Center for Southwest Studies, Southern Methodist University

The author provides a new, systematic and interdisciplinary approach that reinterprets the premises behind Italy's imagined geography or modernity."--Jacket.

Mao Zedong had developed the Three Worlds Theory; however, after the dissolution of Soviet Union, Third World has been used interchangeably with least developed countries and somehow conveys poverty. Nevertheless, the term Third World has also been used to describe some rich countries with very high Gross Domestic Product or even high Human Development Index; therefore, poverty is not always economical, and roots within society. The nature of society is rooted in culture, which is set of ideas, norms, and values; and structure, which is the fundamental organization of society into its institutions, groups, statuses, and roles. While evaluating the difference between “real culture” and “ideal culture”, lead us to understand that cultural values are not always consistent, even within the same society. Global poverty dates back to centuries of plunder and confiscation of land and riches from the indigenous people under the flag of colonialism and exploitation. Over years, exploitation has led the current economic system being funded by the poor through theft of land and natural resources, unfair debt settlement, and unjust taxes on labor and consumption. Social inequality – in sense of distribution of material possessions, money, power, prestige, relationship – whether within societies or among them is a topic at the heart of sociology. The theory of a “Culture of Poverty” describes the combination of factors that perpetuate patterns of inequality and poverty in society. This theory states that living in conditions of prevalent poverty leads to the development of a culture or subculture adapted to those conditions, and characterized by prevalent feelings of vulnerability, dependency, marginality, and feebleness. The myth of the Culture of Poverty, intensifying Cultural Poverty, Cycle of poverty or development trap, insufficiency of materialist information society, necessity of knowledge society, and other key factors in crafting the third world are discussed in this book. “The Third World; Country or People” takes a systematic approach to the analysis of human lives and interactions and evaluates various fields including anthropology, economics, political science, ethnic studies, area studies, gender studies, cultural studies.

For nearly a decade, writers' collectives such as Kwani Trust in Kenya and Femrite , the Ugandan women writers' association, have dramatically reshaped the East African literary scene. This text extends the purview of postcolonial literary studies by providing the long overdue critical inquiry that these writers so urgently deserve.