A Stanford University Press classic.

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.

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.

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.

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.

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.

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.

Pure: Modernity, Philosophy, and the One is an experimental work of philosophy in which the author aspires to think his way back to a "premodern" worldview derived from the philosophical tradition of Platonism. To this end he attempts to identify and elucidate the fundamental intellectual assumptions of modernity and to subject these assumptions to a critical evaluation from the perspective of Platonic metaphysics. The author addresses a broad range of subjects - from ethics, politics, metaphysics, and science to the philosophies of Plato, Plotinus, Schopenhauer, and Nietzsche - without losing sight of the single aim of formulating a premodern perspective in opposition to modernity. The work culminates in a series of essays on the practice of purification, a form of intellectual and spiritual discipline acknowledged by ancient and medieval philosophers alike to be a necessary preliminary to metaphysical insight. Pure is informed throughout by rigorous scholarship, but it is not an "academic" work. The author avoids the plodding and professorial tone typical of contemporary philosophical research in favor of a meditative and aphoristic style. The book, in short, is learned without being pedantic. Readers interested in the history of philosophy and the intellectual roots of the crisis of modernity will find in Pure substantial matter for reflection.

Eric Voegelin and Leo Strauss are two of the most provocative and durable political philosophers of this century. Ted McAllister's superbly written study provides the first comprehensive comparison of their thought and its profound influence on contemporary American conservatism. Since the appearance in the 1950s of Strauss's Natural Right and History and Voegelin's Order and History, conservatives like Russell Kirk, Irving Kristol, and Allan Bloom have increasingly turned to these thinkers to support their attacks on liberalism and the modernist mindset. Like so many conservatives, Strauss and Voegelin rebelled against modernity' amorality-personified by Machiavelli, Hobbes, Rousseau, Kant, Hegel, and Nietzsche-and its promotion of individualism and materialism over communal and spiritual responsibility. While both disdained the reductionist "conservative" label, conservatives nevertheless appropriated their philosophy, in part because it restored theology and classical tradition to the moral core of civil society. For both men, modernity's debilitating disorder revealed surprising and disturbing relations among liberal, communist, and Nazi ideologies. In their eyes, modernity's insidious virus, so apparent in the Nazi and communist regimes, lies incubating within liberal democracy itself. McAllister's thorough reevaluation of Strauss and Voegelin expands our understanding of their thought and restores balance to a literature that has been dominated by political theorists and disciples of Strauss and Voegelin. Neither reverential nor dismissive, he reveals the social, historical, political, and philosophical foundations of their work and effectively decodes their frequently opaque or esoteric thinking. Well written and persuasively argued, McAllister's study will appeal to anyone engaged in the volatile debates over liberalism's demise and conservatism's rise.