The Experience Of Modernity

The experience of modernization -- the dizzying social changes that swept millions of people into the capitalist world -- and modernism in art, literature and architecture are brilliantly integrated in this account.

Essays tracing the intellectual life of a quintessential New York City writer and thinker Marshall Berman was one of the great urbanists and Marxist cultural critics of the twentieth and twenty-first centuries, and his brilliant, nearly sui generis book All That Is Solid Melts Into Air is a masterpiece of the literature on modernism. But like many New York intellectuals, the essay was his characteristic form, accommodating his multifarious interests and expressing his protean, searching exuberant mind. This collection includes early essays from and on the radical ’60s, on New York City, on literary figures from Kafka to Pamuk, and late essays on rock, hip hop, and gentrification. Concluding with his last essay, completed just before his death in 2013, this book is Berman’s intellectual autobiography, tracing his career as a thinker through the way he read the “signs in the street.””

Antimodernism is a term used to describe the international reaction to the onslaught of the modern world that swept across industrialized Western Europe, North America, and Japan in the decades around the turn of the twentieth century. Scholars in art history, anthropology, political science, history, and feminist media studies explore antimodernism as an artistic response to a perceived sense of loss – in particular, the loss of 'authentic' experience. Embracing the 'authentic' as a redemptive antidote to the threat of unheralded economic and social change, antimodernism sought out experience supposedly embodied in pre-industrialized societies – in medieval communities or 'oriental cultures,' in the Primitive, the Traditional, or Folk. In describing the ways in which modern artists used antimodern constructs in formulating their work, the contributors examine the involvement of artists and intellectuals in the reproduction and diffusion of these concepts. In doing so they reveal the interrelation of fine art, decorative art, souvenir or tourist art, and craft, questioning the ways in which these categories of artistic expression reformulate and naturalise social relations in the field of cultural production.

Modernity in Latin America is defined above all by its multi-layered, kaleidoscopic quality. Reminiscent of Octavio Paz's labyrinth, it is a modernity which has accommodated a piling-on of new traditions to old, a blending of external cultures with local, and of high cultures with more popular ones—mixes which allowed a rich and celebratory avant-garde movement, for example, to emerge in the 1920s, and prompted the explosive growth of cities like Rio de Janeiro. Many such cultural (as well as technological) innovations have occurred without equivalent changes in social and political life, however, and so the region has also been at the mercy of what might be termed an uneven development in many of its civic institutions. In this prestigious volume of original essays, many of the best writers on the region are brought together to examine the nature and manifestations of a specifically Latin American modernity. Beatriz Sarlo and Nicolau Sevcenko write about Buenos Aires and Sao Paulo in an exploration of twentieth century urban experience and shifting patterns of migration and immigration; Renato Ortiz and Ana Lopez look at mass media and the ways in which radio, television and cinema have shaped modernity; Jose Jorge de Carvalho, Jose de Souza Martins and Nelson Manrique address questions of religion, politics, ideology and social movements; Gwen Kirkpatrick and Beatriz Rezende explore the intricacies of artistic and literary modernism; and Nestor Canclini and Ruben Oliven open the collection with essays which unravel the many forces – the legacy of slavery, the freedom from an unquestioning faith in development and 'progress', the impact of globalisation – that have given rise to a characteristically hybrid modernity.

Paul Mendes-Flohr is emerging as the leading Jewish intellectual historian of the present generation. In particular, he is responsible for a significant amount of the important and pertinent scholarship in the field of German-Jewish intellectual history. No one else is quite as intimately knowledgeable with this material, the ambiguous legacy of one of the most inventive and poignant episodes of creativity in the life of the Diaspora. Divided Passions is a collection of published and unpublished essays and articles by Paul Mendes-Flohr from the past decade. In a manner that underscores their continued relevance and significance, Mendes-Flohr writes about the problems that Buber, Rosenzweig, Bloch, Simon, Scholem and others tried to crystallize and resolve. Mendes-Flohr moves with effortless authority among the disciplines of theology, philosophy, literature, history, and sociology. Fitted with these interdisciplinary resources, he enriches his treatment of themes and figures in ways that exceed the scope, to say nothing of the execution, found in other literature. The book conveys a rare metaphysical depth, for questions of faith, identity, and Dasein explored by the intellectual figures of the past are also personal ones for the author as well. Mendes-Flohr's exceptional ability to keep this body of work alive and available provides an outstanding source of commentary on the subjects that dominate the agenda of modern Jewish studies.

We are all modern today. But modernity today is not what it used to be. Over the past few decades, modernity has been radically changed by globalization, individualization, new inequalities, and fundamentalism. A novel way of analysing contemporary societies is needed. This book proposes such an analysis. Every society seeks answers to certain basic questions: how to order life in common; how to satisfy human needs; how to establish knowledge. Sociology long assumed that the answers had been found once and for all: a liberal-democratic state, a market economy, and free scientific institutions. This trinity used to be called ‘modern society’. By contrast, this book is based on the idea that, under conditions of modernity, there are no stable and certain answers to these questions. There is a plurality of possible answers, every proposed answer can be criticized and contested, and every society needs to find its answer on its own. This new sociology of modernity proposes two key instruments through which to understand the answers given to those questions: the experiences human beings have of their own modernity and the interpretations they give to those experiences. It reviews the history of ‘Western’ modernity in this light and then focuses on the specific answers that were and are being developed in Europe.

Examines a wide variety of cultural and technological phenomena that have helped shape American popular culture over the last 150 years.