This book is an excellent introduction for newcomers to the modern art tradition in Southeast Asia, and a valuable resource for those intent on delving deeper into the character of art in the region.

In this book one of Europe's foremost sociologists offers a profound and accessible overview of the trajectory of European societies, East and West, since the end of World War II. Combining theoretical depth with factual analysis, Göran Therborn addresses the questions that underpin an understanding of the nature of European modernity, including: To what extent is the period 1945-2000 producing fundamental change and what are the areas of continuity? Have the societies of Europe become more similar to others on the globe or more distinctively European? What are the prospects of Europe after decades of postwar change and the end of the Cold War? Issues covered include the division of paid and unpaid labour,

Although the Breslau arts scene was one of the most vibrant in all of Weimar-era Germany, it has largely disappeared from memory. Studies of the influence of Weimar culture on modernism have focused almost exclusively on Berlin and the Dessau Bauhaus, yet the advances that occurred in Breslau affected nearly every intellectual field, forming the basis for aesthetic modernism internationally and having an enduring impact on visual art and architecture. Breslau boasted a thriving modern arts scene and one of the premier German arts academies of the day until the Nazis began their assault on so-called degenerate art. This book charts the cultural production of Breslau-based artists, architects, art collectors, urban designers, and arts educators who operated in the margins of Weimar-era cultural debates. Rather than accepting the radical position of the German avant-garde or the reactionary position of German conservatives, many Breslauers sought a middle ground. This richly illustrated volume is the first book in English to address this history, constituting an invaluable addition to the literature on the Weimar period. Its readership includes scholars of German history, art, architecture, urban design, planning, collecting, and exhibition history; of the avant-garde, and of the development of arts academies and arts pedagogy.

This volume evaluates the dual roles of war and modernity in the transformation of twentieth-century Chinese identity. The contributors, all leading researchers, argue that war, no less than revolution, deserves attention as a major force in the making of twentieth-century Chinese history. Further, they show that modernity in material culture and changes in intellectual consciousness should serve as twin foci of a new wave of scholarly analysis. Examining in particular the rise of modern Chinese cities and the making of the Chinese nation-state, the contributors to this interdisciplinary volume of cultural history provide new ways of thinking about China's modern transformation up to the 1950s. Taken together, the essays demonstrate that the combined effect of a modernizing state and an industrializing economy weakened the Chinese bourgeoisie and undercut the individual's quest for autonomy. Drawing upon new archival sources, these theoretically informed, thoroughly revisionist essays focus on topics such as Western-inspired modernity, urban cosmopolitanism, consumer culture, gender relationships, interchanges between city and countryside, and the growing impact of the state on the lives of individuals. The volume makes an important contribution toward a postsocialist understanding of twentieth-century China.

What role do indigenous religions play in today's world? Beyond Primitivism is a complete appraisal of indigenous religions - faiths integrally connected to the cultures in which they originate, as distinct from global religions of conversion - as practised across America, Africa, Asia and the Pacific today. At a time when local traditions across the world are colliding with global culture, it explores the future of indigenous faiths as they encounter modernity and globalization. Beyond Primitivism argues that indigenous religions are not irrelevant in modern society, but are dynamic, progressive forces of continuing vitality and influence. Including essays on Haitian vodou, Korean shamanism and the Sri Lankan 'Wild Man', the contributors reveal the relevance of native religions to millions of believers worldwide, challenging the perception that indigenous faiths are vanishing from the face of the globe.

This book is an excellent introduction for newcomers to the modern art tradition in Southeast Asia, and a valuable resource for those intent on delving deeper into the character of art in the region.

First Published in 1988, this volume works towards a new understanding and exploration of the rise and development of modern society, taking its lead from two classical theorists, Emile Durkheim and Max Weber. The key concept of this approach is the 'interpenetration' of different spheres of action. Richard Münch begins with an exploration of the points of convergence and divergence in the works of Durkheim and Weber. He then builds, from Durkheim, a new theory of social order as a complex set of ordering, dynamizing, identity-producing and goal-setting factors. Münch also constructs a new theory of personality development, based on Durkheim's view of the duality of human nature. He concludes by assessing weber's contribution to our understanding of how modern social order emerged, showing that the unique features of modern society emerged from the 'interpenetration' of cultural, political, communal and economic spheres in action.