A Poiret dress, a Catholic shrine in France, Thomas Wallis's Hoover Factory building, an Edna Manley sculpture, the poetry of Bei Dao, the internal combustion engine- what makes such artifacts modernist? Disciplining Modernism explores the different ways disciplines conceive modernism and modernity, undisciplining modernist studies in the process.

The prize-winning War Memorial Gymnasium at the University of British Columbia is discussed here, examining what the building's design, construction and shifting functions reveal about the university's values during the post-war years.

In this path-breaking book, David Garland argues that punishment is a complex social institution that affects both social relations and cultural meanings. Drawing on theorists from Durkheim to Foucault, he insightfully critiques the entire spectrum of social thought concerning punishment, and reworks it into a new interpretive synthesis. "Punishment and Modern Society is an outstanding delineation of the sociology of punishment. At last the process that is surely the heart and soul of criminology, and perhaps of sociology as well—punishment—has been rescued from the fringes of these 'disciplines'. . . . This book is a first-class piece of scholarship."—Graeme Newman, Contemporary Sociology "Garland's treatment of the theorists he draws upon is erudite, faithful and constructive. . . . Punishment and Modern Society is a magnificent example of working social theory."—John R. Sutton, American Journal of Sociology "Punishment and Modern Society lifts contemporary penal issues from the mundane and narrow contours within which they are so often discussed and relocates them at the forefront of public policy. . . . This book will become a landmark study."—Andrew Rutherford, Legal Studies "This is a superbly intelligent study. Its comprehensive coverage makes it a genuine review of the field. Its scholarship and incisiveness of judgment will make it a constant reference work for the initiated, and its concluding theoretical synthesis will make it a challenge and inspiration for those undertaking research and writing on the subject. As a state-of-the-art account it is unlikely to be bettered for many a year."—Rod Morgan, British Journal of Criminology Winner of both the Outstanding Scholarship Award of the Crime and Delinquency Division of the Society for the Study of Social Problems and the Distinguished Scholar Award from the American Sociological Association's Crime, Law, and Deviance Section

Architecture and design have been used to exert control over bodies, across lines of class, gender and race. They regulate access to certain spaces and facilities, impose physical or psychological barriers, and make particular activities possible for specific groups. Built in 1951, the War Memorial Gymnasium at the University of British Columbia is a prize-winning example of modernist architecture. Although conceived to honour the dead of World War II, it was far from being a neutral memorial and gymnasium for everyday athletes. This collection shows what the design, construction and shifting functions and spatial configurations of the building reveal about the values and aspirations of the university in the post-war years. It shows how the building reflected the social and power relations among university administrators, architects and planners, faculty, staff and students, and demonstrates how the culture and structure of the gymnasium responded to changing attitudes to competition, discipline, profession, gender, race and health. As the editors explain, built form has politics, and culture - sporting culture - is just politics by another name.

How and why did a country seen as remote, backwards, and barely European become a pivotal site for reinventing the continent after the Great War? Modernism and the New Spain argues that the "Spanish problem"-the nation's historically troubled relationship with Europe-provided an animating impulse for interwar literary modernism and for new conceptions of cosmopolitanism. Drawing on works in a variety of genres, Gayle Rogers reconstructs an archive of cross-cultural exchanges to reveal the mutual constitution of two modernist movements-one in Britain, the other in Spain, and stretching at key moments in between to Ireland and the Americas. Several sites of transnational collaboration form the core of Rogers's innovative literary history. The relationship between T. S. Eliot's Criterion and José Ortega y Gasset's Revista de Occidente shows how the two journals joined to promote a cosmopolitan agenda. A similar case of kindred spirits appears with the 1922 publication of Joyce's Ulysses. The novel's forward-thinking sentiments on race and nation resonated powerfully within Spain, where a generation of writers searched for non-statist forms through which they might express a new European Hispanicity. These cultural ties between the Anglo-Irish and Spanish-speaking worlds increased with the outbreak of civil war in 1936. Rogers explores the connections between fighting Spanish fascism and dismantling the English patriarchal system in Virginia Woolf's Three Guineas, along with the international, anti-fascist poetic community formed by Stephen Spender, Manuel Altolaguirre, and others as they sought to establish Federico García Lorca as an apolitical Spanish-European poet. Mining a rich array of sources that includes novels, periodicals, biographies, translations, and poetry in English and in Spanish, Modernism and the New Spain adds a vital new international perspective to modernist studies, revealing how writers created alliances that unified local and international reforms to reinvent Europe not in the London-Paris-Berlin nexus, but in Madrid.

Drawing on a vast archive of world history, anthropology, geography, cultural theory, postcolonial studies, gender studies, literature, and art, Susan Stanford Friedman recasts modernity as a networked, circulating, and recurrent phenomenon producing multiple aesthetic innovations across millennia. Considering cosmopolitan as well as nomadic and oceanic worlds, she radically revises the scope of modernist critique and opens the practice to more integrated study. Friedman moves from large-scale instances of pre-1500 modernities, such as Tang Dynasty China and the Mongol Empire, to small-scale instances of modernisms, including the poetry of Du Fu and Kabir and Abbasid ceramic art. She maps the interconnected modernisms of the long twentieth century, pairing Joseph Conrad with Tayeb Salih, E. M. Forster with Arundhati Roy, Virginia Woolf with the Tagores, and Aimé Césaire with Theresa Hak Kyung Cha. She reads postcolonial works from Sudan and India and engages with the idea of Négritude. Rejecting the modernist concepts of marginality, othering, and major/minor, Friedman instead favors rupture, mobility, speed, networks, and divergence, elevating the agencies and creative capacities of all cultures not only in the past and present but also in the century to come.

Drawing from recent research that seeks to expand our understanding of modernism, this volume offers practical pedagogical approaches for teaching modernist literature and culture in the twenty-first century classroom.