We are told modernity's end will destabilize familiar ways of knowing, doing, and being, but are these changes we should dread—or celebrate? Four significant events (and the iconic images that represent them) catalyze this question: the consecration of openly gay Episcopalian bishop Gene Robinson, the mistreatment of prisoners at Abu Ghraib prison, the politicization of the death of Terri Schiavo, and the disastrous response to Hurricane Katrina. Framed by an original appropriation of Michel Foucault, and drawing on resources in visual culture theory and the history of photography, Ellen T. Armour explores the anxieties, passions, and power dynamics bound up in the photographic representation and public reception of these events. Together, these phenomena expose modernity's benevolent and malevolent disruptions and reveal the systemic fractures and fissures that herald its end, for better and for worse. In response to these signs and wonders, Armour lays the groundwork for a theology and philosophy of life better suited to our (post)modern moment: one that owns up to the vulnerabilities that modernity sought to disavow and better enables us to navigate the ethical issues we now confront.
This book provides an important new answer to the much-discussed question of the nature and possibility of philosophy following the collapse of the modern foundationalist paradigm. Mensch offers an alternative based in phenomenology. Using Husserl's analysis of temporality to reinvigorate Aristotle's account of time, he shows how the passing of modernity is actually an opening for doing metaphysics in a new nonfoundationalist manner. Positioning Husserl within a wider context, Mensch views him both as a culmination of the modern foundationalist paradigm and as providing a way to overcome it through his descriptive analyses.
In Mysticism After Modernity, Don Cupitt argues that the extensive modern literature about mysticism has rested upon a mistake - the belief that there can be meaningful experience prior to language.
This book summarizes archaeological approaches to the contemporary past, and suggests a new agenda for the archaeology of late modern societies. The principal focus is the archaeology of developed, de-industrialized societies during the second half of the twentieth century and the beginning of the twenty-first. This period encompasses the end of the Cold War and the beginning of the 'internet age', a period which sits firmly within what we would recognize to be a period of 'lived and living memory'. Rodney Harrison and John Schofield explore how archaeology can inform the study of this time period and the study of our own society through detailed case studies and an in-depth summary of the existing literature. Their book draws together cross-disciplinary perspectives on contemporary material culture studies, and develops a new agenda for the study of the materiality of late modern societies.
'Postmodernity' is often claimed as a great transformation in society and culture. But is it? In this book Keith Tester casts a cautious eye on such grandiose claims. Tester draws on a series of themes and stories from European sociology and literature to show that many of the great statements from 'postmodernity' are misplaced. 'Postmodernity' is not the harbinger or expression of a new world. It is a reflection of the unresolved paradoxes and possibilities of modernity. The author establishes a clearly expressed and stimulating model of modernity to demonstrate the stakes and consequences of 'postmodernity'. This book uses a wealth of sources which are usually denigrated or ignored in the debates on 'postmodernity'. As such it sheds new light on old claims. But it never fails to acknowledge the profound insights of sociologists and other authors. The Life and Times of Post-Modernity is a continuation of the themes which Tester raised in his earlier books with Routledge, The Two Sovereigns and Civil Society .
How can we characterise law and legal theory in the twenty-first century? Law After Modernity argues that we live in an age 'after Modernity' and that legal theory must take account of this fact. The book presents a dynamic analysis of law, which focusses on the richness and pluralism of law, on its historical embeddedness, its cultural contingencies, as well as acknowledging contemporary law's global and transnational dimensions. However, Law After Modernity also warns that the complexity, fragmentation, pluralism and globalisation of contemporary law may all too easily perpetuate injustice. In this respect, the book departs from many postmodern and pluralist accounts of law. Indeed, it asserts that the quest for justice becomes a crucial issue for law in the era of legal pluralism, and it investigates how it may be achieved. The approach is fresh, contextual and interdisciplinary, and, unusually for a legal theory work, is illustrated throughout with works of art and visual representations, which serve to re-enforce the messages of the book.
"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all. So begins Hans Belting's brilliant, iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier and highly successful volume, The End of the History of Art?. "Known for his striking and original theories about the nature of art," according to the Economist, Belting here examines how art is made, viewed, and interpreted today. Arguing that contemporary art has burst out of the frame that art history had built for it, Belting calls for an entirely new approach to thinking and writing about art. He moves effortlessly between contemporary issues—the rise of global and minority art and its consequences for Western art history, installation and video art, and the troubled institution of the art museum—and questions central to art history's definition of itself, such as the distinction between high and low culture, art criticism versus art history, and the invention of modernism in art history. Forty-eight black and white images illustrate the text, perfectly reflecting the state of contemporary art. With Art History after Modernism, Belting retains his place as one of the most original thinkers working in the visual arts today.
Most Christians hold marriage to be a sacrament, created and uniquely blessed by God. Yet, the theology of marriage rarely matches its actual experience. Marriage is too often discovered to be a violent, loveless institution, and increasingly it is delayed, avoided, and terminated.