V.1 Modernization -- V.2 Cultural modernity -- V.3 Odern system -- V.4 After modernity.

Every major enterprise has a significant installed base of existing software systems that reflect the tangled IT architectures that result from decades of patches and failed replacements. Most of these systems were designed to support business architectures that have changed dramatically. At best, these systems hinder agility and competitiveness and, at worst, can bring critical business functions to a halt. Architecture-Driven Modernization (ADM) restores the value of entrenched systems by capturing and retooling various aspects of existing application environments, allowing old infrastructures to deliver renewed value and align effectively with enterprise strategies and business architectures. Information Systems Transformation provides a practical guide to organizations seeking ways to understand and leverage existing systems as part of their information management strategies. It includes an introduction to ADM disciplines, tools, and standards as well as a series of scenarios outlining how ADM is applied to various initiatives. Drawing upon lessons learned from real modernization projects, it distills the theory and explains principles, processes, and best practices for every industry. Acts as a one-stop shopping reference and complete guide for implementing various modernization models in myriad industries and departments Every concept is illustrated with real-life examples from various modernization projects, allowing you to immediately apply tested solutions and see results Authored by the Co-chair of the Object Management Group (OMG) Architecture-Driven Modernization (ADM) Task Force, which sets definitive systems modernization standards for the entire IT industry A web site supports the book with up to date coverage of evolving ADM Specifications, Tutorials, and Whitepapers, allowing you to remain up to date on modernization topics as they develop

First published in 2004. Walter Benjamin famously defined modernity as “the world dominated by its phantasmagorias”. The chapters in this book focus on one such phantasmagoria, namely that of ‘modernity’ itself. From the late seventeenth century until today, the ‘modern’ has served as a key category by which to understand an ever-changing present. Art and architecture have played a key role in this pursuit as the means by which the modern was to manifest itself. The aim of this anthology is to trace the modern project through its multifarious manifestations, in order to understand contemporary culture in a deeper sense than facile discussions of modernism and post-modernism often grant. Drawing on architectural and urban history as well as philosophy and sociology, the chapters outline the complex and conflicting roots of modernity by tracing its manifestations in architecture and the city. The book is divided into three parts, each exploring a distinct aspect of modernity. While part one scrutinizes the much-abused concepts of ‘modernity’ , ‘modernism’ and ‘the modern’ , parts two and three look at the manifestations of the modern in architecture and the city respectively. Focusing particularly on the transition between historicism and modernism, the chapters offer a re-interpretation of early modern architectural and urban culture as it came to expression in people such as Cerda, Semper, Bötticher, Scott, Baudelaire, the Goncourt brothers, Benjamin, Warburg, Kracauer, Mackintosh, Behrens, Taut, and Le Corbusier. For all their differences, these were thinkers and practitioners whose undisputed modernity arose from a deep preoccupation with history. A re-reading of their legacy may throw light on the neglected reciprocity between modernity and its historical conditions of becoming.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

V.1 Modernization -- V.2 Cultural modernity -- V.3 Odern system -- V.4 After modernity.

In this major theoretical statement, the author offers a new and provocative interpretation of the institutional transformations associated with modernity. We do not as yet, he argues, live in a post-modern world. Rather the distinctive characteristics of our major social institutions in the closing period of the twentieth century express the emergence of a period of 'high modernity,' in which prior trends are radicalised rather than undermined. A post-modern social universe may eventually come into being, but this as yet lies 'on the other side' of the forms of social and cultural organization which currently dominate world history. In developing an account of the nature of modernity, Giddens concentrates upon analyzing the intersections between trust and risk, and security and danger, in the modern world. Both the trust mechanisms associated with modernity and the distinctive 'risk profile' it produces, he argues, are distinctively different from those characteristic of pre-modern social orders. This book build upon the author's previous theoretical writings, and will be of fundamental interest to anyone concerned with Gidden's overall project. However, the work covers issues which the author has not previously analyzed and extends the scope of his work into areas of pressing practical concern. This book will be essential reading for second year undergraduates and above in sociology, politics, philosophy, and cultural studies.

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.