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Modernity, welfare state and EUtopia

Introduction Modernity, welfare state and EUtopia “Flow and boundary” – a suggestive image for a new constellation of border crossings. —Habermas, 19981 From its conception to the referenda of 2005 where it met its end, German philosopher Jürgen Habermas wrote in support of the European Constitution. An account of his efforts must, however, be more than a catalogue of texts. For his status as the last of the great system builders of European philosophy, comparable with Hegel in the breadth and explanatory power of his thought, precludes a straightforward

in Habermas and European Integration (second edition)

‘pressed into the service of the wider cultural programme of capitalist modernisation’8 by the 1970s and 1980s. One form of answer to such an argument is offered in the critical work of McGahern’s interviewer in 1979, Denis Sampson. He places the writer within ‘the literary traditions to which he feels an affinity’:9 a postFlaubertian vein straddling modernism, realism and naturalism too, which includes Irish and European writers as various as Yeats, Joyce, Beckett, Tolstoy, Chekhov and Proust. Drawing on an appreciation of how McGahern’s fiction subtly engages with such

in John McGahern
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moments in the genre’s past, occasions when and where its conventions were contested from within particular disciplines. Such contestation has often involved reconceptualising the case study’s epistemological foundations. This volume has taken the reader on a transcontinental journey from the imperial world of fin-desiècle Central Europe and the Austro-Hungarian Empire to the inter-war metropolises of Weimar Germany, and to the USA in the post-war years. At all of these moments, and in all of these contexts, the case study has been evolving; fostering transformation

in A history of the case study

’, and ‘modernism’ and ‘postmodernism’, that had engulfed Continental Europe and the English and philosophy departments of American universities. This was not surprising. Little in the preceding years had prepared Anglo-American sociology for what was about to hit them. Marx, Weber and Durkheim, the revered greats of classical sociology, had not used the concept of modernity, although of course they were acutely aware of the novelty of the times they were living in (Ray 1999). Only George Simmel (1858–1918), a relatively little-known figure in mainstream sociology, had

in Bauman and contemporary sociology

were forced on him by the dismal & degrading spectacle of the Peace Congress, where men played shamelessly, not for Europe, or even England, but for their own return to Parliament at the next election.’94 Keynes’s enchantments are negated by the greed both of the reparations and the self-promotion of those who conducted negotiations. Gone is the paternalism of Victorian politics, replaced by a naked Modernism, conflict and the home front, 1922–27 139 Figure 3.1  The Peace Day parade in London, 1919 self-interest. The Manchester Guardian’s editorial also noted

in Writing disenchantment
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Marlow, realism, hermeneutics

Introduction: Marlow, realism, hermeneutics To a teacher of languages there comes a time when the world is but a place of many words and man appears a mere talking animal not much more wonderful than a parrot. (Joseph Conrad, Under Western Eyes) Marlow, realism, hermeneutics Charlie Marlow, whose forename is given on only two occasions, is the most celebrated of Conrad’s narrator-characters. Variously described as ‘not in the least typical’, ‘the average pilgrim’, a ‘wanderer’, and ‘a Buddha preaching in European clothes’, Marlow is the voice behind ‘Youth

in Conrad’s Marlow
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Invention of Politics in the European Avant-Garde, 2006; W. Adamson, Embattled Avant-Gardes: Modernism’s Resistance to Commodity Culture in Europe, 2007; S. Bru, Democracy, Law, and the Modernist Avant-Gardes: Writing in the State of Exception, 2009; E. Gentile, La nostra sfida alle stelle. Futuristi in politica, 2009; F. Perfetti, Futurismo e politica, 2009). Recent publications have also offered new readings of the Futurists’ position in relation to modernity, arguing that, far from enthusiastically embracing technological progress, their position was complex and

in Back to the Futurists

other hand his broad knowledge of the European cultural scene combined with an ability to work between and across disciplines made him a unique character as a translator of modernism to the North American public at large. Which then in turn, via the USA, re-entered Sweden in Europe as this case study has shown. The importance of framing The problem with the artworks exhibited at the Art Concret exhibition was foremost a question of context, about their literal and figurative framing. As easel paintings they exemplified a blind alley, according to the Swedish critic

in Travelling images
Resurrected ghosts, living heroes and saintly saviours on the 3rd Floor, 1987–9 4

historian Vardan Azatyan calls this new regime, which emerged in the unofficial circles of Armenian artists from the 1960s, National 45 46 The political aesthetics of the Armenian avant-garde Modernism.6 This new regime became possible in the post-Second World War period as a result of Khruschev’s relatively liberal policies in the period of de-Stalinization after the 1956 twentieth Congress of the CPSU. Based on a marriage of national (understood as ethnic) content and modernist form, in the late 1960s this so-called National Modernism, a phenomenon peculiar

in The political aesthetics of the Armenian avant-garde
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Elsewhere Godard’s For Ever Mozart was made in 1996. It refers directly to the civil war and massacres in ex-Yugoslavia (Bosnia, Serbia and Kosovo) that were taking place. It was a situation away from Europe, elsewhere, yet here, on its borders, in a European country that most of Europe seemed unable or unwilling to do much about. Here and Elsewhere have been a central preoccupation in Godard’s films. One of them, which concerns the situation in Palestine/Israel, has the title Ici et Ailleurs (Here and Elsewhere) (1974) and there is as well Made in USA (1966

in Film modernism