eBook downloads, eBook resources & eBook authors
The present book provides a comparative ten-step model for revolutions and will show that these must be considered a global phenomenon of modernity.
China is now poised to take a key role on the world stage, but in the early twentieth century the situation could not have been more different. Rana Mitter goes back to this pivotal moment in Chinese history to uncover the origins of the painful transition from a premodern past into a modern world. By the 1920s the seemingly civilized world shaped over the last two thousand years by the legacy of the great philosopher Confucius was falling apart in the face of western imperialism and internal warfare. Chinese cities still bore the imprints of its ancient past with narrow, lanes and temples to long-worshipped gods, but these were starting to change with the influx of foreign traders, teachers, and missionaries, all eager to shape China's ancient past into a modern present. Mitter takes us through the resulting social turmoil and political promise, the devastating war against Japan in the 1940s, Communism and the Cultural Revolution of the 1960s, and the new era of hope in the 1980s ended by the Tian'anmen uprising. He reveals the impetus behind the dramatic changes in Chinese culture and politics as being China's "New Culture" - a strain of thought which celebrated youth, individualism, and the heady mixture of strange and seductive new cultures from places as far apart as America, India, and Japan.
This book, as the first volume of a multiple volume endeavor to analyze several revolutions of the “long” nineteenth and “short” twentieth century to show how revolutionary processes evolved, takes a closer look at the Atlantic Revolutions, that is, the American, the French, and the Haitian Revolution. It will therefore use a comparative ten-step model to emphasize similarities with regard to the revolutionary developments in different parts of the world. The book consequently aims at providing a general, but deeper, understanding of revolutions as a global phenomenon of modernity while explaining how revolutionary processes evolve and develop, and how they could and can be corrupted.
Featuring contributions from leading thinkers on revolution, it combines theoretical concerns with case studies of individual revolutions to question whether ideas of revolution are still relevant in the postmodern and globalized world of the twenty-first century.
During the 1920s and 1930s, American minority artists and writers collaborated extensively with the Soviet avant-garde, seeking to build a revolutionary society that would end racial discrimination and advance progressive art. Making what Claude McKay called "the magic pilgrimage" to the Soviet Union, these intellectuals placed themselves at the forefront of modernism, using radical cultural and political experiments to reimagine identity and decenter the West. Shining rare light on these efforts, The Ethnic Avant-Garde makes a unique contribution to interwar literary, political, and art history, drawing extensively on Russian archives, travel narratives, and artistic exchanges to establish the parameters of an undervalued "ethnic avant-garde." These writers and artists cohered around distinct forms that mirrored Soviet techniques of montage, fragment, and interruption. They orbited interwar Moscow, where the international avant-garde converged with the Communist International. The book explores Vladimir Mayakovsky's 1925 visit to New York City via Cuba and Mexico, during which he wrote Russian-language poetry in an "Afro-Cuban" voice; Langston Hughes's translations of these poems while in Moscow, which he visited to assist on a Soviet film about African American life; a futurist play condemning Western imperialism in China, which became Broadway's first major production to feature a predominantly Asian American cast; and efforts to imagine the Bolshevik Revolution as Jewish messianic arrest, followed by the slow political disenchantment of the New York Intellectuals. Through an absorbing collage of cross-ethnic encounters that also include Herbert Biberman, Sergei Eisenstein, Paul Robeson, and Vladimir Tatlin, this work remaps global modernism along minority and Soviet-centered lines, further advancing the avant-garde project of seeing the world anew.
Scholars have long argued over whether the 1648 Peace of Westphalia, which ended more than a century of religious conflict arising from the Protestant Reformations, inaugurated the modern sovereign-state system. But they largely ignore a more fundamental question: why did the emergence of new forms of religious heterodoxy during the Reformations spark such violent upheaval and nearly topple the old political order? In this book, Daniel Nexon demonstrates that the answer lies in understanding how the mobilization of transnational religious movements intersects with--and can destabilize--imperial forms of rule. Taking a fresh look at the pivotal events of the sixteenth and seventeenth centuries--including the Schmalkaldic War, the Dutch Revolt, and the Thirty Years' War--Nexon argues that early modern "composite" political communities had more in common with empires than with modern states, and introduces a theory of imperial dynamics that explains how religious movements altered Europe's balance of power. He shows how the Reformations gave rise to crosscutting religious networks that undermined the ability of early modern European rulers to divide and contain local resistance to their authority. In doing so, the Reformations produced a series of crises in the European order and crippled the Habsburg bid for hegemony. Nexon's account of these processes provides a theoretical and analytic framework that not only challenges the way international relations scholars think about state formation and international change, but enables us to better understand global politics today.
This volume questions whether ideas of revolution are still relevant in the postmodern and globalized world of the twenty-first century. Featuring contributions from some of the world's leading sociological and political thinkers on revolution, it combines theoretical concerns with a variety of detailed case studies of individual revolutions. Subjects covered include: democracy and revolution from 1789 to 1989 twentieth century revolutions and theories of revolution, including Marxism, modernization and structuralist theories revolution in the "Third World" and the variable geometry of the paths to modernity Islamic revolutions and modernity the 1989 revolutions as "democratic revolutions" or "elite-led transitions" globalization, the nation-state and revolution empire and "democratic revolution" network society and revolution Islamic fundamentalism, international terrorism and revolution democratic revolution as a new form of revolution postmodern theories of revolution new social movements, identities and new figures of revolution. Revolution in the Making of the Modern World will be essential reading for students and scholars of comparative politics, political theory, revolution and political sociology.
Providing new insight on the intellectual and cultural dimensions of the Cold War, Michael Latham reveals how social science theory helped shape American foreign policy during the Kennedy administration. He shows how, in the midst of America's protracted struggle to contain communism in the developing world, the concept of global modernization moved beyond its beginnings in academia to become a motivating ideology behind policy decisions. After tracing the rise of modernization theory in American social science, Latham analyzes the way its core assumptions influenced the Kennedy administration's Alliance for Progress with Latin America, the creation of the Peace Corps, and the strategic hamlet program in Vietnam. But as he demonstrates, modernizers went beyond insisting on the relevance of America's experience to the dilemmas faced by impoverished countries. Seeking to accelerate the movement of foreign societies toward a liberal, democratic, and capitalist modernity, Kennedy and his advisers also reiterated a much deeper sense of their own nation's vital strengths and essential benevolence. At the height of the Cold War, Latham argues, modernization recast older ideologies of Manifest Destiny and imperialism.
The experience of modernization -- the dizzying social changes that swept millions of people into the capitalist world -- and modernism in art, literature and architecture are brilliantly integrated in this account.
In Mexican Modernity, Ruben Gallo tells the story of a second Mexican Revolution, a battle fought on the front of cultural representation. The new revolutionaries were not rebels or outlaws but artists and writers; their weapons were cameras, typewriters, radios, and other technological artifacts, and their goal was not to topple a dictator but to dethrone nineteenth-century aesthetics. Gallo tells the story of this other revolution by focusing on five artifacts that left a deep mark on the literature and the arts of the 1920s and 1930s: the camera and its novel techniques for seeing the modern world; the typewriter and its mechanization of literary aesthetics; radio and poetic experiments with wireless communication; cement architecture and its celebration of functional internationalism; and the stadium and its deployment as a mass medium for political spectacle. Gallo traces the ways artists and writers, armed with these artifacts, revolutionized representation by breaking with the traditional modes of production that had dominated Mexican cultural practices: Tina Modotti rose against the conventions of "artistic" photography by promoting a radically modern photographic aesthetics; typewriting authors rejected the literary precepts of modernismo to celebrate the stridencies of mechanical writing; and young architects abandoned older building materials for the symbolic strength of reinforced concrete. Gallo uncovers a secret history of Mexican modernity that includes a number of fascinating episodes: the pictorialist backlash against Modotti and Edward Weston; the postcolonial Remingtont typewriter; Mexican radio in the North Po the campaign to aestheticize cement through journals and artistic competitions; and the protofascist political spectacles held at Mexico City's National Stadium in the 1920s.
