Properties Of Modernity

Spanish Romantic discourse that highlights ways in which the mythic story of Western modernity was shaped by transnational European power-politics.

Moving beyond the individualisation paradigm in sociological theory, this book develops an approach to the analysis of human activities and the social phenomena produced by them that centres on the processes that generate coordinated behaviours among individuals. Emphasising the relational and processual character of social phenomena, as well as the importance of a broader cultural and historical context for analysing them, the author questions the view of contemporary society that sees individuals acting in a context in which social bonds are dissolving, and unveils the rationale hidden behind the chaos of everyday activities. Through an analysis of the continued importance of cooperation and the consequent emergence in society of various kinds of communities, this volume examines the changing character of social ties. An overview of transformation of social bonds and the intensification of mutual influences among individuals as they seek to address social dilemmas in new contexts, The Individual after Modernity will appeal to social scientists with interests in social theory.

Modernity's Metonyms considers the representation of temporal frameworks in stories by the nineteenth-century Spanish authors, Leopoldo Alas and Antonio Ros de Olano. Adopting a metonymic approach_exploring the reiteration of specific associations across a range of disciplines, from literature, philosophy, historiography, to natural history_Modernity's Metonyms moves beyond the consideration of nineteenth-century Spanish literary modernity in terms of the problem of representation. Through an exploration of the associations prompted by three themes, the railway, food, and suicide, it argues that literary modernity can be considered as the expression of the perception that a linear model of time bringing together the past, the present and the future, was fragmenting into a proliferation of simultaneous moments. It draws French, German, American and British writers into discussion of stories by the canonical author Alas, and Ros de Olano, an author who is receiving increasing attention from scholars of nineteenth-century Spanish literature. Recent scholarship in the field of nineteenth-century Spanish literature and culture has challenged the thesis of 'retraso,' the thesis that Spain lagged far behind its European neighbors. Building on this scholarship, this monograph incorporates shorter works of experimental prose fiction into discussions of nineteenth-century literary modernity in Spain. It further expands the field by combining analysis of the writing of the canonical author, Leopoldo Alas with stories by Antonio Ros de Olano, whose work has been receiving increasing attention from scholars in the field. Rather than thinking of these works in terms of the ways they conform to established models provided by either contemporaneous French and British works, or by fin de siglo and early twentieth-century Spanish literature, Modernity's Metonyms works inductively. It builds outwards from the seven stories studies, identifying patterns of associations shared with writing by figures as diverse as Ludwig Feuerbach, Thomas Carlyle, Emilio Castelar, Briere de Boismont, P.J. Cabanis, or Jean-Anselme Brillat-Savarin. The seven stories discussed are Alas's 'Do-a Berta,' 'Zurita,' 'Cuervo' and 'Cuento futuro,' and Ros de Olano's 'Jornadas de retorno escritas por un aparecido,' 'Maese Cornelio TOcito,' and 'La noche de mOscaras.'

This is the first study to compare the philosophical systems of secular scientific philosopher Mario Bunge (1919-2020), and Moroccan Islamic philosopher Taha Abd al-Rahman (b.1945). In their efforts to establish the philosophical underpinnings of an ideal modernity these two great thinkers speak to the same elements of the human condition, despite their opposing secular and religious worldviews. While the differences between Bunge’s critical-realist epistemology and materialist ontology on the one hand, and Taha’s spiritualist ontology and revelational-mystical epistemology on the other, are fundamental, there is remarkable common ground between their scientific and Islamic versions of humanism. Both call for an ethics of prosperity combined with social justice, and both criticize postmodernism and religious conservatism. The aspiration of this book is to serve as a model for future dialogue between holders of Western and Islamic worldviews, in mutual pursuit of modernity’s best-case scenario.

Illuminating the tensions between theory, history, and interpretation in contemporary aesthetics, Peter McCormick traces here the intellectual history of our understanding of the relationship between philosophy and the arts.

In this original intellectual history, Anna di Robilant traces the history of one of the most influential legal, political, and intellectual projects of modernity: the appropriation of Roman property law by liberal nineteenth-century jurists to fit the purposes of modern Europe. Drawing from a wealth of primary sources, many of which have never been translated into English, di Robilant outlines how a broad network of European jurists reinvented the classical Roman concept of property to support the process of modernisation. By placing this intellectual project within its historical context, she shows how changing class relations, economic policies and developing ideologies converged to produce the basis of modern property law. Bringing these developments to the twentieth century, this book demonstrates how this largely fabricated version of Roman property law shaped and continues to shape debates concerning economic growth, sustainability, and democratic participation.

The Intellectual Origins of Modernity explores the long and winding road of modernity from Rousseau to Foucault and its roots, which are not to be found in a desire for enlightenment or in the idea of progress but in the Promethean passion of Western humankind. Modernity is the Promethean passion, the passion of humans to be their own master, to use their insight to make a world different from the one that they found, and to liberate themselves from their immemorial chains. This passion created the political ideologies of the nineteenth century and made its imprint on the totalitarian regimes that arose in their wake in the twentieth. Underlying the Promethean passion there was modernity—humankind's project of self-creation—and enlightenment, the existence of a constant tension between the actual and the desirable, between reality and the ideal. Beneath the weariness, the exhaustion and the skepticism of post-modernist criticism is a refusal to take Promethean horizons into account. This book attests the importance of reason, which remains a powerful critical weapon of humankind against the idols that have come out of modernity: totalitarianism, fundamentalism, the golem of technology, genetic engineering and a boundless will to power. Without it, the new Prometheus is liable to return the fire to the gods.

"Through rigorously historical but not univocal readings of several widely familiar works, the book also argues that this literature does socially constitutive work in a way that differs from commonly made neofoucauldian, marxisant claims. Its (non-cynical) consumer-driven model, in which artworks offer variously instructive make-believe, does not require or invoke transgression, subversion, finger-wagging, or complaisance as means of social efficacy."--BOOK JACKET.