This book investigates modern global civilization, offering an alternative to post-colonial theories and the "multiple modernities" approach (as well as the civilizational theory linked to it). It argues that modernity has become a global civilization that is heterogeneous and intertwined with other civilizations, and also aims at a renewal of critical theory that is not US-centric and Eurocentric, focusing instead on China, South Asia (India) and Latin America (Brazil). Dealing with the themes of centre-periphery relations, complexity (including culture and religion), democracy and emancipatory possibilities, this book is based on general theoretical ideas such as collective subjectivity, the interplay of memory and creativity, and the concept of "modernizing moves," so as to deal with historical contingency.

Notions of civilization and barbarism were intrinsic to Eugène Delacroix’s artistic practice: he wrote regularly about these concepts in his journal, and the tensions between the two were the subject of numerous paintings, including his most ambitious mural project, the ceiling of the Library of the Chamber of Deputies in the Palais Bourbon. Exiled in Modernity delves deeply into these themes, revealing why Delacroix’s disillusionment with modernity increasingly led him to seek spiritual release or epiphany in the sensual qualities of painting. While civilization implied a degree of control and the constraint of natural impulses for Delacroix, barbarism evoked something uncontrolled and impulsive. Seeing himself as part of a grand tradition extending back to ancient Greece, Delacroix was profoundly aware of the wealth and power that set nineteenth-century Europe apart from the rest of the world. Yet he was fascinated by civilization’s chaotic underbelly. In analyzing Delacroix’s art and prose, David O’Brien illuminates the artist’s effort to reconcile the erudite, tradition-bound aspects of painting with a desire to reach viewers in a more direct, unrestrained manner. Focusing chiefly on Delacroix’s musings about civilization in his famous journal, his major mural projects on the theme of civilization, and the place of civilization in his paintings of North Africa and of animals, O’Brien links Delacroix’s increasingly pessimistic view of modernity to his desire to use his art to provide access to a more fulfilling experience. With more than one hundred illustrations, this original, astute analysis of Delacroix and his work explains why he became an inspiration for modernist painters over the half-century following his death. Art historians and scholars of modernism especially will find great value in O’Brien’s work.

Discusses the representation/role of the supernatural or the "fantastic" in the construction of Japanese modernism in late 19th and early 20th century Japan.

Modernization has been a profound change of human civilizations a worldwide phenomenon and trend since the 18th century. It includes not only the great change and transformation from traditional to modern politics, economy, society and culture, but also all human development and the rational protection of the natural environment at present. It has changed not only people's lives in many aspects, but also the strategic pattern of world system. At present, modernization is not only a worldwide phenomenon, but also a development goal of many countries. It is a common responsibility of the world scientific community to study the principles, explain the phenomenon and serve to reach goals of modernization. The Russian Chinese Scientific Conference on Civilization and Modernization (the first of its kind) was held at the Institute of Philosophy of the Russian Academy of Sciences (RAS) from 29 to 30 May 2012. Leading experts from the Institute of Philosophy RAS, the China Centre for Modernization Research of the Chinese Academy of Sciences (CAS), the Institute of Sociology RAS and the Institute of Social and Economic Problems of Territories RAS, of Kursk and Tyumen state universities, and other research centers took part in the conference. The conference focused on two issues: civilization and modernization, and global and regional modernization, part one and part two respectively of the proceedings. Twenty one papers in total were presented and they are collected here in this volume.

How did science come to have such a central place in Western culture? How did our ways of thinking, and our moral, political, and social values, come to be modelled around scientific values? Stephen Gaukroger traces the story of how these values developed, and how they influenced society and culture from the 19th to the mid-20th century.

One of the world's leading social theorists provides a monumental synthesis of Japanese history, religion, culture, and social organization. Equipped with a thorough command of the subject, S. N. Eisenstadt focuses on the non-ideological character of Japanese civilization as well as its infinite capacity to recreate community through an ongoing past.

Virginia Woolf and the Bloomsbury Avant-Garde traces the dynamic emergence of Woolf's art and thought against Bloomsbury's public thinking about Europe's future in a period marked by two world wars and rising threats of totalitarianism. Educated informally in her father's library and in Bloomsbury's London extension of Cambridge, Virginia Woolf came of age in the prewar decades, when progressive political and social movements gave hope that Europe "might really be on the brink of becoming civilized," as Leonard Woolf put it. For pacifist Bloomsbury, heir to Europe's unfinished Enlightenment project of human rights, democratic self-governance, and world peace—and, in E. M. Forster's words, "the only genuine movement in English civilization"— the 1914 "civil war" exposed barbarities within Europe: belligerent nationalisms, rapacious racialized economic imperialism, oppressive class and sex/gender systems, a tragic and unnecessary war that mobilized sixty-five million and left thirty-seven million casualties. An avant-garde in the twentieth-century struggle against the violence within European civilization, Bloomsbury and Woolf contributed richly to interwar debates on Europe's future at a moment when democracy's triumph over fascism and communism was by no means assured. Woolf honed her public voice in dialogue with contemporaries in and beyond Bloomsbury— John Maynard Keynes and Roger Fry to Sigmund Freud (published by the Woolfs'Hogarth Press), Bertrand Russell, T. S. Eliot, E. M. Forster, Katherine Mansfield, and many others—and her works embody and illuminate the convergence of aesthetics and politics in post-Enlightenment thought. An ambitious history of her writings in relation to important currents in British intellectual life in the first half of the twentieth century, this book explores Virginia Woolf's narrative journey from her first novel, The Voyage Out, through her last, Between the Acts.

Keith Thomas's earlier studies in the ethnography of early modern England, Religion and the Decline of Magic, Man and the Natural World, and The Ends of Life, were all attempts to explore beliefs, values, and social practices in the centuries from 1500 to 1800. In Pursuit of Civility continues this quest by examining what English people thought it meant to be "civilized" and how that condition differed from being "barbarous" or "savage." Thomas shows that the upper ranks of society sought to distinguish themselves from their social inferiors by distinctive ways of moving, speaking, and comporting themselves, and that the common people developed their own form of civility. The belief of the English in their superior civility shaped their relations with the Welsh, the Scots, and the Irish, and was fundamental to their dealings with the native peoples of North America, India, and Australia. Yet not everyone shared this belief in the superiority of Western civilization; the book sheds light on the origins of both anticolonialism and cultural relativism. Thomas has written an accessible history based on wide reading, abounding in fresh insights, and illustrated by many striking quotations and anecdotes from contemporary sources.

`A lucid and fascinating account of how society initially comes to be viewed as ′civilized′ on the basis of how it punishes its offenders, and the various numances and contradictions that form the backdrop to that ′civilization′ prior to 1970 and the unraveling of that process thereafter. ...He [Pratt] has at the very least broadened the boundaries of the debate about the history of imprisonment in new and novel ways that will surely become a basis for future analysis′ - The Howard Journal of Criminal Justice ′In presenting and organizing such a wealth of historical material, John Pratt′s book will be welcomed by those who teach and study the history of the prison in the English-speaking world′ - Criminal Justice Punishment and Civilization examines how a framework of punishment that suited the values and standards of the civilized world came to be set in place from around 1800 to the late 20th century. In this book, John Pratt draws on research about prison architecture, clothing, diet, hygienic arrangements and changes in penal language to establish this. The author demonstrates that this did not mean, however, that such a framework of punishment was ′civilized′. Instead it meant that punishment in the civilized world became anonymous and remote. Prison brutalities and privations could be largely unchecked by a public that did not want to be involved. In the last few decades it has become clear that civilized societies have to tolerate new boundaries of punishment. This is not because of any development of ′civilized punishment′. Instead this is due to a shift in public mood and power: from public indifference to public involvement in penal development. Throughout this text theoretical ideas and concepts are accessibly introduced and illustrated with a wide range of examples from the UK, USA, Canada, Australia and New Zealand. It will be essential reading for students and academics of punishment, prisons and social theory.