Imagining Modernity

Imagining Modernity in the Andes is an interdisciplinary work that deals with the intersection of projects of modernity with constructions of race and ethnicity in the Andes. This book focuses initially on Indigenismo, attempting to recuperate the intellectual energy of writers and artists from the twenties who rewrote political and cultural discourse in an irreversible manner, and concludes with a consideration of the new configurations of indigeneity that are emerging today not only in the Andes but across the globe. The multidisciplinary work of José Marìa Arguedas occupies a privileged place in this study and his anthropological work is analyzed in the context of an ideological climate. In addition to considering sociological and anthropological accounts, Archibald examines representations of urbanization and social informality by four Peruvian novelists, pointing to the prevalence of the troupe of the grotesque as a metaphor for the unmanageability associated with cities of the South. Finally, Imagining Modernity in the Andes analyzes the implications of the emergence of new visual media in a culture context long defined by the oral-textual divide, and considers the continued relevance of the concept of transculturation in a transnational and post-literary context.

"This book is a detailed study of the architecture of Valentine Gunasekara (1931-2017). It provides an innovative lens to understand the formation of a Ceylonese middle-class, which was inspired by the post-independence desire for modernity. Their experiments, values and dynamic social history are the framework for this research. Although neglected by his peers and marginalized by the prevalent discourse on vernacular regionalism, Gunasekara's work poses important questions regarding the utopian ideals of the modernist project and its successes and its failures in Asia. More significantly, his work reveals the European and American influences that shaped the first generation of Ceylonese architects and their efforts at adapting new materials and technologies to a very different climate and culture. This book documents a wide range of Gunasekara's projects including residential, religious and commercial buildings arguing that they represented a nascent cosmopolitanism from below that proved to be quite antithetical to regionalist trends in architecture. This e-book is a re-publication of an earlier edition published by Stamford Lake in 2007"--

Arjun Appadurai’s 1996 collection of essays Modernity At Large: Cultural Dimensions of Globalization helped reshape how anthropologists, geographers and philosophers saw and understood the key topic of our times: globalization. Globalization has long been recognized as one of the crucial factors shaping the modern world – a force that allows goods, people, money, information and culture to flow across borders with relative ease. But if globalization is reshaping the world, it is also viewed with increasing suspicion – and it is still not clear how to understand and conceptualise the huge shifts that are taking place. Appadurai’s work is now considered one of the most influential contributions to the field, largely because of its brilliantly creative approach to the conceptual problems posed by the deep and rapid changes that are involved. Critical thinking lies at the heart of the author’s approach to his writing. A common tactic among gifted creative thinkers is to shift a problem or argument into a novel interpretative framework, and this is exactly what Appadurai did. Modernity at Large interrogates modernity through Appadurai’s notion of ‘scapes,’ a set of separate, interacting flows that, he suggests, cross the globalized world: ethnoscapes (the flow of people), mediascapes (flow of media), technoscapes (technological interactions), financescapes (capital flow), and ideoscapes (the flow of ideologies). By constructing this creative framework, it becomes possible to undertake, as Appadurai does, a brilliant and original investigation of what globalization really means.

In the years following the Mexican Revolution, visual images of la chica moderna, the modern woman, au courant in appearance and attitude, popped up in mass media across the country. Some of the images were addressed directly to women through advertisements, as illustrations accompanying articles in women’s magazines, and on the “women’s pages” in daily newspapers. Others illustrated domestic and international news stories, promoted tourism, or publicized the latest Mexican and Hollywood films. In Imagining la Chica Moderna, Joanne Hershfield examines these images, exploring how the modern woman was envisioned in Mexican popular culture and how she figured into postrevolutionary contestations over Mexican national identity. Through her detailed interpretations of visual representations of la chica moderna, Hershfield demonstrates how the images embodied popular ideas and anxieties about sexuality, work, motherhood, and feminine beauty, as well as class and ethnicity. Her analysis takes into account the influence of mexicanidad, the vision of Mexican national identity promoted by successive postrevolutionary administrations, and the fashions that arrived in Mexico from abroad, particularly from Paris, New York, and Hollywood. She considers how ideals of the modern housewife were promoted to Mexican women through visual culture; how working women were represented in illustrated periodicals and in the Mexican cinema; and how images of traditional “types” of Mexican women, such as la china poblana (the rural woman), came to define a “domestic exotic” form of modern femininity. Scrutinizing photographs of Mexican women that accompanied articles in the Mexican press during the 1920s and 1930s, Hershfield reflects on the ways that the real and the imagined came together in the production of la chica moderna.

In Picturing American Modernity, Kristen Whissel investigates the relationship between early American cinema and the experience of technological modernity. She demonstrates how between the late 1890s and the eve of the First World War moving pictures helped the U.S. public understand the possibilities and perils of new forms of “traffic” produced by industrialization and urbanization. As more efficient ways to move people, goods, and information transformed work and leisure at home and contributed to the expansion of the U.S. empire abroad, silent films presented compelling visual representations of the spaces, bodies, machines, and forms of mobility that increasingly defined modern life in the United States and its new territories. Whissel shows that by portraying key events, achievements, and anxieties, the cinema invited American audiences to participate in the rapidly changing world around them. Moving pictures provided astonishing visual dispatches from military camps prior to the outbreak of fighting in the Spanish-American War. They allowed audiences to delight in images of the Pan-American Exposition, and also to mourn the assassination of President McKinley there. One early film genre, the reenactment, presented spectators with renditions of bloody battles fought overseas during the Philippine-American War. Early features offered sensational dramatizations of the scandalous “white slave trade,” which was often linked to immigration and new forms of urban work and leisure. By bringing these frequently distant events and anxieties “near” to audiences in cities and towns across the country, the cinema helped construct an American national identity for the machine age.

In much the same way that Japan has become the focus of contemporary American discussion about industrial restructuring, Germans in the economic reform in terms of Americanism and Fordism, seeing in the United States an intriguing vision for a revitalized economy and a new social order. During the 1920s, Germans were fascinated by American economic success and its quintessential symbols, Henry Ford and his automobile factories. Mary Nolan's book explores the contradictory ways in which trade unionists and industrialists, engineers and politicians, educators and social workers explained American economic success, envisioned a more efficient or "rationalized" economic system for Germany, and anguished over the social and cultural costs of adopting the American version of modernity. These debates about Americanism and Fordism deeply shaped German perceptions of what was economically and socially possible and desirable in terms of technology and work, family and gender relations, consumption and culture. Nolan examines efforts to transform production and consumption, factories and homes, and argues that economic Americanism was implemented ambivalently and incompletely, producing, in the end, neither prosperity nor political stability. Vision of Modernity will appeal not only to scholars of German History and those interested in European social and working-class history, but also to industrial sociologists and business scholars.