Originally published in 1962, when Lefebvre was beginning his career as a lecturer in sociology at the University of Strasbourg, it established his position in the vanguard of a movement which was to culminate in the events of May 1968. A classic analysis of the modern world using Marxist dialectic, it is a book which supersedes the conventional divisions between academic disciplines. With dazzling skill, Lefebvre moves from philosophy to sociology, from literature to history, to present a profound analysis of the social, political and cultural forces at work in France and the world in the aftermath of Stalin’s death—an analysis in which the contours of our own “postmodernity” appear with startling clarity.
Appearing for the first time in an English translation, Introduction to Modernity is one of Henri Lefebvre's greatest works. Published in 1962, when Lefebvre was beginning his career as a lecturer in sociology at the University of Strasbourg, it established his position in the vanguard of a movement which was to culminate in the events of May 1968. It is a book which supersedes the conventional divisions between academic disciplines. With dazzling skill, Lefebvre moves from philosophy to sociology, from literature to history, to present a profound analysis of the social, political and cultural forces at work in France and the world in the aftermath of Stalin's death—an analysis in which the contours of our own "postmodernity" appear with startling clarity. Lefebvre's lectures have become legendary, and something of his charismatic presence and delivery is captured in this book, which he intended "to be understood in the mind's ear ... and not simply to be read." With its mercurial shifts of tone, now intensely poetic, now conversational, it not only explores modernity, it exemplifies it. Equally experimental in conception is the book's remarkable structure, twelve "preludes" through which a range of recurrent themes are interwoven in free-form counterpoint: irony as a critical tool, utopianism, nature and culture, the Stalinization of Marxism, the alienation of everyday life, the cybernetic society ... What gradually emerges is not only a series of original concepts about humanity and culture, but an extraordinary invocation of the complexity of social contradictions. Yet the fragmented structure of the book is not left to float free. Its shifting and eclectic melodies and leitmotifs have a solid ground basis: the wish to rehabilitate the Marxist dialectic as a method for understanding and transforming the modern world. This program is at the heart of the book, and gives it its underlying coherence, making Introduction to Modernity not only essential reading for all students of European cultural history, but also a key text for Marxism in the post-communist world of the late twentieth century.
Formations of Modernity is a major introductory textbook offering an account of the important historical processes, institutions and ideas that have shaped the development of modern societies. This challenging and innovative book 'maps' the evolution of those distinctive forms of political, economic, social and cultural life which characterize modern societies, from their origins in early modern Europe to the nineteenth century. It examines the roots of modern knowledge and the birth of the social sciences in the Enlightenment, and analyses the impact on the emerging identity of 'the West' of its encounters through exploration, trade, conquest and colonization, with 'other civilizations'. Designed as an introduction to modern societies and modern sociological analyses, this book is of value to students on a wide variety of social science courses in universities and colleges and also to readers with no prior knowledge of sociology. Selected readings from a broad range of classical writers (Weber, Durkheim, Marx, Freud, Adam Smith, Montesquieu, Hobbes, Locke, Rousseau) and contemporary thinkers (Michael Mann, E.P. Thompson, Edward Said) are integrated in each chapter, together with student questions and exercises.
Provides a comprehensive introduction to the history, sociology, and ideas of modern society, focusing on the formation, consolidation, and prospects of modernity.
In Ulrich Beck, Mads P. Sørensen and Allan Christiansen provide an extensive and thorough introduction to the German sociologist's collected works. Focusing on the theory outlined in Beck's chief work, Risk Society, and on his theory of second modernity, Sørensen and Christiansen explain the sociologist's ideas and writing in a clear and accessible way.
This is an important and innovative comparative study of socialist movements and regimes of modernization in the Balkans, encompassing Serbian populism, Bulgarian social democracy and Greek communism. It makes an original contribution both to the history of political ideas and to the political sociology of radical and socialist movements. It provides a fascinating account of the transplantation of ideologies that were adopted from Western Europe and from Russia into the very different environment of the Balkans, and traces their adaptation and their reception in this new environment. Book jacket.
This book provides a comprehensive introduction to the issues, concepts and theories through which people have tried to understand consumer culture throughout the modern period, and puts the current state of thinking into a broader context. Thematically organized, the book shows how the central aspects of consumer culture - such as needs, choice, identity, status, alienation, objects, culture - have been debated within modern theories, from those of earlier thinkers such as Marx and Simmel to contemporary forms of post-structuralism and postmodernism. This approach introduces consumer culture as a subject which - far from being of narrow or recent interest - is intimately tied to the central issues of modern times and modern social thought. With its reviews of major theorists set within a full account of the development of the subject, this book should be of interest to undergraduate and postgraduate students in the many disciplines which now study consumer culture, including communications and cultural studies, anthropology and history.
China—Art—Modernity provides a critical introduction to modern and contemporary Chinese art as a whole. It illuminates what is distinctive and significant about the rich range of art created during the tumultuous period of Chinese history from the end of Imperial rule to the present day. The story of Chinese art in the twentieth and twenty-first centuries is shown to be deeply intertwined with that of the country’s broader socio-political development, with art serving both as a tool for the creation of a new national culture and as a means for critiquing the forms that culture has taken. The book’s approach is inclusive. In addition to treating art within the Chinese Mainland itself during the Republican and Communist eras, for instance, it also looks at the art of colonial Hong Kong, Taiwan and the Chinese diaspora. Similarly, it gives equal prominence to artists employing tools and idioms of indigenous Chinese origin and those who engage with international styles and contemporary media. In this way it writes China into the global story of modern art as a whole at a moment in intellectual history when Western-centred stories of modern and contemporary culture are finally being recognized as parochial and inadequate. Assuming no previous background knowledge of Chinese history and culture, this concise yet comprehensive and richly-illustrated book will appeal to those who already have an established interest in modern Chinese art and those for whom this is a novel topic. It will be of particular value to students of Chinese art or modern art in general, but it is also for those in the wider reading public with a curiosity about modern China. At a time when that country has become a major actor on the world stage in all sorts of ways, accessible sources of information concerning its modern visual culture are nevertheless surprisingly scarce. As a consequence, a fully nuanced picture of China’s place in the modern world remains elusive. China—Art—Modernity is a timely remedy for that situation. ‘Here is a book that offers a comprehensive account of the dizzying transformations of Chinese art and society in the twentieth and twenty-first centuries. Breaking free of conventional dichotomies between traditional and modern, Chinese and Western that have hobbled earlier studies, Clarke’s highly original book is exactly what I would assign my own students. Anyone eager to understand developments in China within the global history of modern art should read this book.’ —Robert E. Harrist Jr., Columbia University ‘Clarke’s book presents a critically astute mapping of the arts of modern and contemporary China. It highlights the significance of urban and industrial contexts, migration, diasporas and the margins of the mainland, while imaginatively seeking to inscribe its subject into the broader story of modern art. A timely and reliable intervention—and indispensable for the student and non-specialist reader.’ —Shane McCausland, SOAS University of London
