Europe as a Multiple Modernity: Multiplicity of Religious Identities and Belonging challenges the predominant modernity theory arguing that Europe can be considered as one multiple modernity. In that, the book presents a collection of essays showing the plurality of discourses and variety in human self-reflexion on notions of religious and belonging in everyday lives. Emphasis is placed on religious actors and individuals in Europe, and the multiplicity of their senses of religious identification and belonging.

Formations of European Modernity seeks to provide an interpretation of the idea of Europe through an analysis of the course of European history. It aims to discover the structure of qualitative shifts in the relation between state, society and individual, how they occurred and what were their consequences for the formation of social and culture structures for European history. The book makes a major contribution to the debate on the idea of Europe and offers an interdisciplinary approach drawing especially from history, sociology and political theory, but also from geography and anthropology. The theoretical objective of is to make sense of the course of European history through an account of the formation of a European cultural model that emerges out of the legacies of the inter-civilizational background. It considers how in relation to this cultural model a societal structure takes shape. The tension between both gives form to Europe's path to modernity and defines the specificity of its heritage. The structuring process that has shaped Europe made possible a model of modernity that has placed a strong emphasis on the values of social justice and solidarity. These values have been reflectively appropriated in different periods to produce different interpretations, societal outcomes and a multiplicity of projects of modernity.

How may we characterize contemporary society in a world so complex? Can looking at the diverse paths followed by various cultures in the modern world generate useful new social scientific typologies, or must a different set of questions be posed in this era of globalization? What, in short, is the nature of modernity? These are some of the questions addressed by the contributors to Multiple Modernities.Following the theme in an earlier work edited by Shmuel Eisenstadt, Public Spheres and Collective Identities, this book challenges conventional notions of how the world has changed politically, socially, and economically. The authors consider the meaning of modernity in contexts as different as communist Russia, modern India, the Muslim world, Latin America, China and East Asia, and the United States. Miscegenation, transnational migration, technological developments, and changing communications have shifted the ground on which theories of society were once built; political system, diaspora groups, religion, and ""classical"" theories of modernity have to be reconsidered in a new context.Authors and chapters include: S.N. Eisenstadt, ""Multiple Modernities""; Bjrn Wittrock, ""Modernity: One, None, or Many? European Origins and Modernity as a Global Condition""; Johann P. Arnason, ""Communism and Modernity""; Nilfer Gle, ""Snapshots of Islamic Modernities""; Dale F. Eickelman, ""Island and the Languages of Modernity""; Sudipta Kaviraj, ""Modernity and Politics in India""; Stanley J. Tambiah, ""Transnational Movements, Diaspora, and Multiple Modernities""; Tu Weiming, ""Implications of the Jrise of 'Confucian' East Asia""; Jrgen Heideking, ""The Pattern of American Modernity from the Revolution to the Civil War""; and Renato Ortiz, ""From Incomplete Modernity to World Modernity.""Written in clear and non-technical language for both a scholarly and general audience, this volume confronts the problem of just what constitutes the common core of modernit

The book examines major social transformations in Europe from the perspective of social theory. It offers an intriguing alternative to studies of the EU which emphasise the replacement of the nation-state by a supra-national authority.

This collection investigates the concept of modernity in music and its multiple interpretations in Europe and East Asia. Through contributions by both European and East Asian musicologists it discusses how a decentered understanding of musical modernity could be matched on multiple historiographical perspectives while being attentive to the specificities of local music and their narratives in East Asia and Europe. The essays connect local, global and transnational history with sociological theories of modernity and modernization, making the volume an important contribution to overcoming the Eurocentric dichotomy between western music and world music within the field of historical musicology.

Arguing for the idea of connected histories, Bhambra presents a fundamental reconstruction of the idea of modernity in contemporary sociology. She criticizes the abstraction of European modernity from its colonial context and the way non-Western "others" are disregarded. It aims to establish a dialogue in which "others" can speak and be heard.

First published in 2000, Dipesh Chakrabarty's influential Provincializing Europe addresses the mythical figure of Europe that is often taken to be the original site of modernity in many histories of capitalist transition in non-Western countries. This imaginary Europe, Dipesh Chakrabarty argues, is built into the social sciences. The very idea of historicizing carries with it some peculiarly European assumptions about disenchanted space, secular time, and sovereignty. Measured against such mythical standards, capitalist transition in the third world has often seemed either incomplete or lacking. Provincializing Europe proposes that every case of transition to capitalism is a case of translation as well--a translation of existing worlds and their thought--categories into the categories and self-understandings of capitalist modernity. Now featuring a new preface in which Chakrabarty responds to his critics, this book globalizes European thought by exploring how it may be renewed both for and from the margins.