An original investigation into how tradition has developed over the centuries into our modern understanding of the term.

This book explores examples of this process of invention and addresses the complex interaction of past and present in a fascinating study of ritual and symbolism.

Three prominent social thinkers discuss how modern society is undercutting its formations of class, stratum, occupations, sex roles, the nuclear family, and more. Reflexive modernization, or the way one kind of modernization undercuts and changes another, has wide ranging implications for contemporary social and cultural theory, as this provocative book demonstrates.

The key theme addressed by all the contributors to this book is the relationship between South Africa's indigenous churches (AICs) to modernity. The key question asked by each of the contributors is to what extent, if any, do AICs serve as bridges to tradition or as facilitators for modernizing practices? Although the researchers do not agree on the answer to this question—some argue for the return to tradition, others argue for the facilitation perspective—they do provide provocative and timely insights for prospective researchers interested in exploring concepts and methodologies for understanding modernity and modernization. Based on a number of case studies of AICs in South Africa, this book will also be of great interest to scholars of comparative religion and the role churches play in negotiating the complex terrains of politics, society, and economy in this era of globalization.

Explores the imagery of woman in Mexican art and visual culture. Examines how woman signified a variety of concepts, from modernity to authenticity and revolutionary social transformation, both before and after the Mexican Revolution.

"This study gauges the effects that Walt Whitman's poetry had in Italy in the period from 1870 to 1945: the reactions it provoked, the aesthetic and political agendas it came to sponsor, and the creative responses it facilitated. But it also investigates the contexts and causes of Whitman's success abroad, in the lives, backgrounds, beliefs, and imaginations of the people who encountered it. Ultimately, it chronicles the evolution of a literature intent on regenerating itself and moving toward modernity. Bernardini gives particular attention to women writers and noncanonical writers often excluded from previous discussions of Whitman's Italian reception. The book is grounded in archival studies and examination of primary documents, which led to a series of noteworthy discoveries. While the main focus is on the Italian literary scene, the history of the reception retraced here is constantly evaluated in relation to other cultures that were also intent, in those same years, on reading and recreating Whitman. Studying Whitman's reception from a transnational perspective shows how many countries were simultaneously carving out a new modernity in literature and culture. In this sense, Bernardini not only shows the interconnectedness of various international agents in understanding and contributing to the spread of Whitman's work, but, more largely, a constellation of similar pre-modernist and modernist sensibilities. This stands in contrast to the notion of sudden innovation: modernity was not easy to achieve, and most of all, it did not imply a complete refusal of tradition. Instead, a continuous and fruitful negotiation between tradition and innovation, and not a sudden break with the literary past, is at the very heart of the Italian and transnational reception of Whitman"--

Pop Modernism examines the popular roots of modernism in the United States. Drawing on a wide range of materials, including experimental movies, pop songs, photographs, and well-known poems and paintings, Juan A. Suárez reveals that experimental art in the early twentieth century was centrally concerned with the reinvention of everyday life. Suárez demonstrates how modernist writers and artists reworked pop images and sounds, old-fashioned and factory-made objects, city spaces, and the languages and styles of queer and ethnic “others.” Along the way, he reinterprets many of modernism’s major figures and argues for the centrality of relatively marginal ones, such as Vachel Lindsay, Charles Henri Ford, Helen Levitt, and James Agee. As Suárez shows, what’s at stake is not just an antiquarian impulse to rescue forgotten past moments and works, but a desire to establish an archaeology of our present art, culture, and activism.

This volume explores the idea of decadence through readings of major modernist writers such as Ezra Pound and T. S. Eliot.

Throughout the nineteenth century, the performance of sacred drama on the English public stage was prohibited by law and custom left over from the Reformation: successive Examiners of Plays, under the control of the Lord Chamberlain's Office, censored and suppressed both devotional and blasphemous plays alike. Whilst the Biblical sublime found expression in the visual arts, the epic, and the oratorio, nineteenth-century spoken drama remained secular by force of precedent and law. The maintenance of this ban was underpinned by Protestant anxieties about bodily performance, impersonation, and the power of the image that persisted long after the Reformation, and that were in fact bolstered by the return of Catholicism to public prominence after the passage of the Catholic Relief Act in 1829 and the restoration of the Catholic Archbishoprics in 1850. But even as anti-Catholic prejudice at mid-century reached new heights, the turn towards medievalism in the visual arts, antiquarianism in literary history, and the 'popular' in constitutional reform placed England's pre- Reformation past at the centre of debates about the uses of the public stage and the functions of a truly national drama. This book explores the recovery of the texts of the extant mystery-play cycles undertaken by antiquarians in the early nineteenth century and the eventual return of sacred drama to English public theatres at the start of the twentieth century. Consequently, law, literature, politics, and theatre history are brought into conversation with one another in order to illuminate the history of sacred drama and Protestant ant-theatricalism in England in the long nineteenth-century.

Wisdom in Classical and Biblical Tradition begins with the recognition that modern culture emerged from a synthesis of the legacies of ancient Greek civilization and the theological perspectives of the Jewish and Christian scriptures. Part of what made this synthesis possible was a shared outlook: a common aspiration toward wholeness of understanding that refused to separate knowledge from goodness, virtue from happiness, cosmos from polis, and divine authority from human responsibility. This wholeness of understanding, or wisdom, featured prominently in both classical and biblical literatures as an ultimate good. Michael Legaspi has two central aims. The first is to explain in formal terms what wisdom is. Though wisdom involves matters of practical judgment affecting the life of the individual and the community, it has also been identified with an understanding of the world and of the ultimate realities that give meaning to human thought and action. In its traditional form, wisdom was understood to govern intellectual, social, and ethical endeavors. His second aim is to analyze figures and texts that have yielded and shaped the traditional understanding of wisdom. The book examines accounts of wisdom within foundational texts that range from the period of Homer to the destruction of the Second Temple. In doing so, it explains why the search for wisdom remains an important but problematic endeavor today.