A Stanford University Press classic.

Examines debates over sexual honor to explore the ways in which private morality was infused with the cultural politics of nation-building and modernization, and was used to legitimate power differentials based on race, gender, and class.

For over two hundred years, the notion of modernity has dominated Western social thought. Yet as we approach the end of the millenium, we find the concept under seige: constantly being challenged, rejected or refined. In Critique of Modernity d, Alain Touraine, one of our leading social thinkers, offers an outstanding analysis and reinterpretation of the modern for the twenty-first century.

Where is the boundary line between civilization and barbarism drawn? When is the Other really Other, and thus no longer deserving of rights? Daniel R. Brunstetter expertly examines the place of inequality within the liberal thread of modernity by turning to the intellectual history surrounding the European discovery of the New World, and the notion of the human that emerged from the intellectual debates about the rights of the Indians.

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.

This volume is an historical survey of advisory and mentoring missions from the 1920s onwards, starting from the Soviet missions to the Kuomintang and ending with the mission to Iraq. It focuses on Afghanistan during the Soviet occupation and after 2001, but also deals with virtually every single advisory mission from the 1920s on-wards, whether involving 'Eastern Bloc' countries or Western ones. The sections on Afghanistan are based on new research, while the sections covering other cases of advisory/mentoring missions are based on the existing literature. The authors highlight how large scale missions have been particularly problematic, causing friction with the hosts and sometimes even undermining their legitimacy. Small missions staffed by more carefully selected cadres appear instead to have produced better results. Overall, the political context may well have been a more important factor in determining success or failure rather than aspects such as cultural misunderstandings.

The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W. Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Kant to Arthur Danto, Stanley Cavell, and Adorno. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yve-Alain Bois, and Thierry de Duve; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollock, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.

Although the West won the Cold War, the continuation of the status quo is not a foregone conclusion. The former Soviet-aligned regions outside of Russia -- Ukraine, Poland, Czech Republic, and others -- sit atop decaying armed forces while Russian behavior has grown more and more aggressive, as evidenced by its intervention in Ukraine in recent years. Thomas Young delves into the state of these defense institutions in Central and Eastern Europe, whose resources have declined at a faster rate than their Western neighbors' due to social and fiscal circumstances at home and shifting attitudes in the wider international community. With rigorous attention to the nuances of each region's politics and policies, he documents the status of reform of these armed forces and the role that Western nations have played since the Cold War, as well as identifying barriers to success and which management practices have been most effective in both Western and Eastern capitals. This is essential reading for undergraduates and graduates studying the recent history of Europe in the post-Soviet era, as well as those professionally involved in defense governance in the region.

This book provides a clear and readable overview of the works of today's most influential German philosopher. It analyses the theoretical underpinnings of Habermas's social theory, and its applications in ethics, politics, and law. Finally, it examines how his social and political theory informs his writing on contemporary, political, and social problems.

Viewing Foucault in the light of work by Continental and American philosophers, most notably Nietzsche, Habermas, Deleuze, Richard Rorty, Bernard Williams, and Ian Hacking, Genealogy as Critique shows that philosophical genealogy involves not only the critique of modernity but also its transformation. Colin Koopman engages genealogy as a philosophical tradition and a method for understanding the complex histories of our present social and cultural conditions. He explains how our understanding of Foucault can benefit from productive dialogue with philosophical allies to push Foucaultian genealogy a step further and elaborate a means of addressing our most intractable contemporary problems.