The author provides a new, systematic and interdisciplinary approach that reinterprets the premises behind Italy's imagined geography or modernity."--Jacket.
In the current neo-liberal political and economic climate, it is often suggested that a large and strong state stands in opposition to an autonomous and vibrant civil society. However, the simultaneous presence in Sweden of both a famously large public sector and an unusually vital civil society poses an interesting and important theoretical challenge to these views with serious political and policy implications. Studies show that in a comparative context Sweden scores very highly when it comes to the strength and vitality of its civil society as well as social capital, as measured in terms of trust, lack of corruption, and membership of voluntary associations. The “Swedish Model,” therefore, offers important insights into the dynamics of state and civil society relations, which go against current trends of undermining the importance of the welfare state, and presents autonomous civic participation as the only way forward.
The northern Italian, ‘Padanian’ identity, fostered by the Lega Nord, is rooted in the long-standing tradition, in political and scholarly discourse, of casting regional differences within Italy in terms of a North-South geographic divide. Trying to come to terms, in the late 1980s and 1990s, with Italy’s (real or presumed) inadequacies – such as inefficient government, corruption, and organized crime – this imagined geography acquired political centrality in that the North became associated with the virtues of modernity and the South with the vices of un-modernity. It was not only politicians but also social scientists, who fostered and perpetuated this conceptualization of the North-South divide, thus imposing a normative hierarchy between the two parts of the country. In response to this discourse many scholars, both in Italy and abroad, have started to question this perception of the South as a “backward” and implicitly inferior society. Starting from this critical tradition, Michel Huysseune provides a new, systematic, and interdisciplinary approach that re-interprets the premises behind Italy’s imagined geography of modernity. He moves beyond an understanding of the South as a “backward” and implicitly inferior society and problematizes normative notions of modernity, thus offering a new perspective on the North-South divide, which has a significance well beyond the case of Italy.
The author of Smile When You're Lying describes his controversial road trip investigation into the cultural divide of the United States during which he met with possum-hunting conservatives, trailer park lifers and prayer warriors before concluding that both sides might benefit if former Confederacy states seceded.
Examines the work of artists trained at the Viennese Women's Academy in the late nineteenth and early twentieth centuries. Explores generational struggles and diverging artistic philosophies on art, craft, and design.
Bishai, however, historicizes and questions to concept of secession itself, as well as the component assumptions of territoriality and identity upon which it rests. She argues that understanding the historic contingency of secessionist conflict allows us to contemplate an alternative vision of international relations in which the violence associated with controlling territory is no longer necessary for validating political identities."--Jacket.
As the European Union faces the ongoing challenges of legitimacy, identity, and social cohesion, an understanding of the social purpose and direction of EU citizenship becomes increasingly vital. This book is the first of its kind to map the development of EU citizenship and its relation to various localities of EU governance. From a critical political economy perspective, the authors argue for an integrated analysis of EU citizenship, one that considers the interrelated processes of migration, economic transformation, and social change and the challenges they present.
Decorative handcrafts are commonly associated with traditional femininity and unthreatening docility. However, the artists connected with interwar Vienna’s “female Secession” created craft-based artworks that may be understood as sites of feminist resistance. In this book, historian Megan Brandow-Faller tells the story of how these artists disrupted long-established boundaries by working to dislodge fixed oppositions between “art” and “craft,” “decorative” and “profound,” and “masculine” and “feminine” in art. Tracing the history of the women’s art movement in Secessionist Vienna—from its origins in 1897, at the Women’s Academy, to the Association of Austrian Women Artists and its radical offshoot, the Wiener Frauenkunst—Brandow-Faller tells the compelling story of a movement that reclaimed the stereotypes attached to the idea of Frauenkunst, or women’s art. She shows how generational struggles and diverging artistic philosophies of art, craft, and design drove the conservative and radical wings of Austria’s women’s art movement apart and explores the ways female artists and craftswomen reinterpreted and extended the Klimt Group’s ideas in the interwar years. Brandow-Faller draws a direct connection to the themes that impelled the better-known explosion of feminist art in 1970s America. In this provocative story of a Viennese modernism that never disavowed its ornamental, decorative roots, she gives careful attention to key primary sources, including photographs and reviews of early twentieth-century exhibitions and archival records of school curricula and personnel. Engagingly written and featuring more than eighty representative illustrations, The Female Secession recaptures the radical potential of what Fanny Harlfinger-Zakucka referred to as “works from women’s hands.” It will appeal to art historians working in the decorative arts and modernism as well as historians of Secession-era Vienna and gender history.
About half of today’s nation-states originated as some kind of breakaway state. The end of the Cold War witnessed a resurgence of separatist activity affecting nearly every part of the globe and stimulated a new generation of scholars to consider separatism and secession. As the 150th anniversary of the American Civil War approaches, this collection of essays allows us to view within a broader international context one of modern history's bloodiest conflicts over secession. The contributors to this volume consider a wide range of topics related to secession, separatism, and the nationalist passions that inflame such conflicts. The first section of the book examines ethical and moral dimensions of secession, while subsequent sections look at the American Civil War, conflicts in the Gulf of Mexico, European separatism, and conflicts in the Middle East, Asia, and Africa. The contributors to this book have no common position advocating or opposing secession in principle or in any particular case. All understand it, however, as a common feature of the modern world and as a historic phenomenon of international scope. Some contributors propose that “political divorce,” as secession has come to be called, ought to be subject to rational arbitration and ethical norms, instead of being decided by force. Along with these hopes for the future, Secession as an International Phenomenon offers a somber reminder of the cost the United States paid when reason failed and war was left to resolve the issue.
By examining the development of modern dance in the USA in the inter-war period, Thomas develops a framework for analysing dance from a sociological perspective. She applies her approach to, among others, St Denis, Ted Shawn, and Martha Graham.