The orthodox concept of modernism, as it was passed on with little alteration from the 1920s to the post-war era, has been in a state of crisis for some time. This is especially clear to see in the fields of architecture and urban design. Meanwhile, neither postmodernism nor deconstructivism has proven to be a convincing alternative. In this book, architectural theorist, practitioner, and historian Vittorio Magnago Lampugnani sets out to define a new form of modernism - a modernism that continues to uphold its social and humane objectives while reassessing, from the ground up, its social, technical, functional, and aesthetic parameters. Our economic and ecological conditions have undergone radical changes. As such, we must also adapt our needs and desires. We must consume as little as possible and produce only what is truly necessary. At the same time, we need to preserve our autonomy and values - even as we live through the major upheavals brought on by these new requirements. Starting from these premises, the author puts forward a new design approach that pursues - and is defined by - durability. It is an approach that rejects the frivolous waste of resources and superficial proliferation of images that have become commonplace today. He thus offers an alternative to the contemporary fixation on spectacles, both hollow and dangerous, and instead calls for measured restraint and substantial simplicity.

This text covers Bauman’s contribution to sociology and social theory. This ideal teaching text analyzes Bauman's shift from a sociology of postmodernity to liquid modernity, and provides a critical assessment of the contemporary Bauman, appraising his novel theory of liquid modernity in terms of its implications for self-identity, interpersonal relationships, culture, communications, and the broad-ranging institutional transformations associated with globalization. In addition to various extracts from Bauman's work, the book also contains a spirited reply from Zygmunt Bauman to both his sympathetic and unsympathetic critics. Bauman concludes by providing a new perspectives on his theory of liquid modernity, its differentiation from the modernity/postmodernity debate and its relation to current developments in contemporary social theory.

The concepts of modernity and modernism are amongst the most controversial and vigorously debated in contemporary philosophy and cultural theory. In this intervention, Fredric Jameson-perhaps the most influential and persuasive theorist of postmodernity-excavates and explores these notions in a fresh and illuminating manner.The extraordinary revival of discussions of modernity, as well as of new theories of artistic modernism, demands attention in its own right. It seems clear that the (provisional) disappearance of alternatives to capitalism plays its part in the universal attempt to revive 'modernity' as a social ideal. Yet the paradoxes of the concept illustrate its legitimate history and suggest some rules for avoiding its misuse as well. In this major interpretation of the problematic, Jameson concludes that both concepts are tainted, but nonetheless yield clues as to the nature of the phenomena they purported to theorize. His judicious and vigilant probing of both terms-which can probably not be banished at this late date-helps us clarify our present political and artistic situations.

This state of the art collection offers fresh perspectives on why intersections between literature, religion, and ethics can address the fault lines of modernity and are not necessarily the cause of modernity's 'faults.' From a diverse cohort of scholars from around the world, with appointments in comparative literature and other disciplines, the essays suggest that the imagined hegemony of a Judeo-Christian Western project is neither exclusively true nor productive. However, the essays also suggest that elements of the Western religious traditions are important vectors for understanding modernity's complicated relationship to the past.

In this new book, Bauman examines how we have moved away from a 'heavy' and 'solid', hardware-focused modernity to a 'light' and 'liquid', software-based modernity. This passage, he argues, has brought profound change to all aspects of the human condition. The new remoteness and un-reachability of global systemic structure coupled with the unstructured and under-defined, fluid state of the immediate setting of life-politics and human togetherness, call for the rethinking of the concepts and cognitive frames used to narrate human individual experience and their joint history. This book is dedicated to this task. Bauman selects five of the basic concepts which have served to make sense of shared human life - emancipation, individuality, time/space, work and community - and traces their successive incarnations and changes of meaning. Liquid Modernity concludes the analysis undertaken in Bauman's two previous books Globalization: The Human Consequences and In Search of Politics. Together these volumes form a brilliant analysis of the changing conditions of social and political life by one of the most original thinkers writing today.

In times of entrenched social upheaval and multiple crises, we need the kind of social theory that is prepared to look at the big picture, analyze the broad developmental features of modern societies, their structural conditions and dynamics, and point to possible ways out of the crises we face. Over the last couple of decades, two German sociologists, Andreas Reckwitz and Hartmut Rosa, have sought to provide wide-ranging social theories of this kind. While their theories are very different, they share in common the view that the analysis of modernity as a social formation must be kept at the heart of sociology, and that the theory of society should ultimately serve to diagnose the crises of the present. In this book, Andreas Reckwitz and Hartmut Rosa join forces to examine the value and the limits of a theory of society today. They provide clear and concise accounts of their own theories of society, explicate their key concepts – including “singularization” in the case of Reckwitz, “acceleration” and “resonance” in the case of Rosa – and draw out the implications of their theories for understanding the multiple crises we face today. The result is a book that provides both an excellent introduction to the work of two of the most important sociologists writing today and a vivid demonstration of the value of the kind of bold social theory of modern societies that they espouse.

Material Modernity explores creative innovation in German art, design, and architecture during the Weimar Republic, charting both the rise of new media and the re-fashioning of old media. Weimar became famous for the explosion of creative ingenuity across the arts in Germany, due to experiments with new techniques (including the move towards abstraction in painting and sculpture) and inventive work in such new media as paper and plastic, which utilized both new and old methods of art production. Individual chapters in this book consider inventions such as the camera and materials like celluloid, examine the role of new materials including concrete composites in opening up fresh avenues in the plastic arts, and relate advances in the understanding of color perception and psychology to an increased interest in visual perception and the latent potential of color as both architectural ornament and carrier of emotional force in space. While art historians usually argue that experimentation in the Weimar Republic was the result of an intentional rejection of traditional modes of expression in the conscious attempt to invent a modern art and architecture unshackled from historic media and methods, this volume shows that the drivers for innovation were often far more complex and nuanced. It first of all describes how the material shortages precipitated by the First World War, along with the devastation to industrial infrastructure and disruption of historic trade routes, affected art, as did a spirit of experimentation that permeated interwar German culture. It then analyzes new challenges in the 1920s to artistic conventions in traditional art modes like painting, sculpture, drawing, architecture, textiles, and print-making and simultaneously probes the likely causes of innovative new methods of artistic production that appeared, such as photomontage, assemblage, mechanical art, and multi-media art. In doing so, Material Modernity fills a significant gap in Weimar scholarship and art history literature.

Zygmunt Bauman on Education in Liquid Modernity evaluates the contribution that Bauman has made to education studies. It outlines the central themes within social analysis in Bauman’s writings, and examines how researchers have applied his key ideas to explore current theoretical issues. The book focuses on Bauman’s ideas in relation to the management and consumption of education, including topics such as student voice and individual identity; relationships and inclusive education. Identifying and discussing underpinning assumptions about Bauman’s work and its application to education, the book addresses the connection between his work and wider debates, providing a critical and clarifying re-examination of Bauman’s contribution to the role of education within solid, post and liquid modernity. This book will appeal to academics, researchers and postgraduate students of education theory and the sociology of education. It will be of great interest to readers seeking a critical appreciation and application of Bauman’s work to an educational context and Bauman scholars interested in the application of contemporary social theory to education and its role in identity formation in areas such as sex and relationships education.

This book critically interrogates the function of schooling in the United States of America using the writings of sociologist Zygmunt Bauman. Asking whether the function is to produce citizens, workers, a combination of the two, or something altogether different, it argues that the designs of schooling are part of a carefully crafted ordering, illustrated via an analysis of the ways in which schooling introduces students to various forms of coercion and seduction that socialize students in particular ways: ways that support an order. By engaging with the prolific and insightful works of one of the most prominent social thinkers of the 21st century, this book considers schooling and its contributions to order. Be they solid or liquid modern ordering mechanisms, ordering through repression and seduction, or supporting ordering through the creation of boundaries separating an “orderly inside” from its “disorderly outside,” schools imperfectly support the construction of order and in doing so, privilege some representations and individuals over others. To order is to harness ambivalence and steer it in directions that privilege the “in” group at the expense of the “out” group; and schools, from the curriculum they teach to the values and ideas they promote, are desirable captive marketplaces instrumental in steering this ambivalence. The author ultimately suggests that the function of schools, whether recognized or not, are not so much to educate students to be free thinkers, but rather to be orderly cogs in a particular functional social machine. As such, the book will be of interest to faculty, scholars, and postgraduate-level students with interests in the sociology of education, schooling, sociology, and social theory.

The zombie--popular culture's undead darling--shows no signs of stopping. But as it develops to suit changing audience tastes, its characteristics transform. This collection of new essays examines the latest incarnation, the romantic zombie, a re-humanized monster we want to help, heal and connect with rather than destroy. The authors discuss our increasingly sympathetic view of the reanimated dead as more than physical bodies devoid of life and personality. Their essays cover a range of topics, including audience obsession with Apocalyptic love; the problem of a kinder, gentler undead; the millennial reinvention of the "sexy zombie"; and "uncanny valley romance."