"Entering the 21st century, the postmodern succession has given way to a doom-laden, apolitical orthodoxy. This book offers suggestive readings of "the contemporary" in light of high modernity, postwar modernity, and postmodernity, as framed by the influential institutions of modern art and the spectacles of millennial architecture. Modernity without a Project critiques and connects historical avant-garde currents as they are institutionally expressed or captured, and scrutinizes the remake of New York's Museum of Modern Art, Minoru Yamasaki's vanished Utopias, the "anarchitecture" of Lebbeus Woods, recent work of Rem Koolhaas, delirious developments in Dubai, and the unexpected contribution to architectural debate by the late Hugo Chavez."--Publisher's website.

This collection of ten essays offers the first systematic assessment of JürgenHabermas's Philosophical Discourse of Modernity, a book that defended the rational potential of themodern age against the depiction of modernity as a spent epoch. The essays (of which four are newlycommissioned, five were published in the journal Praxis International, and one -- by Habermas --first appeared in translation in New Critique) are divided into two sections: Critical Rejoindersand Thematic Reformulations.An opening essay by d'Entrèves sets out the main issues and orients thedebate between Habermas and the postmodernists by identifying two different senses ofresponsibility: a responsibility to act versus a responsibility to otherness (an openness todifference, dissonance, and ambiguity). These are linked with two alternative understandings of theprimary function of language: action-orienting versus world-disclosing. This is a fruitful way oflooking at the issues that Habermas has raised in his attempt to resurrect and complete the projectof Enlightenment.Habermas's essay discusses the main themes of his book in the context of a criticalengagement with neoconservative cultural and political trends. The main body of essays offer aninteresting collection of points of view, for and against Habermas's position by philosophers,social scientists, intellectual historians, and literary critics.SECTIONS & CONTRIBUTORS :Introduction, Maurizio Passerin d'Entrèves. Modernity versus Postmodernity, Jürgen Habermas.Critical Rejoinders : Fred Dallmayr. Christopher Norris. David C. Hoy. James Schmidt. JoelWhitebook. Thematic Reformulations : James Bohman. Diana Coole. Jay M. Bernstein. DavidIngram.

The story of modernist architects in East Central Europe The first half of the twentieth century witnessed the rise of modernist architects. Brokers of Modernity reveals how East Central Europe turned into one of the pre-eminent testing grounds of the new belief system of modernism. By combining the internationalism of the CIAM organization and the modernising aspirations of the new states built after 1918, the reach of modernist architects extended far beyond their established fields. Yet, these architects paid a price when Europe’s age of extremes intensified. Mainly drawing on Polish, but also wider Central and Eastern European cases, this book delivers a pioneering study of the dynamics of modernist architects as a group, including how they became qualified, how they organized, communicated and attempted to live the modernist lifestyle themselves. In doing so, Brokers of Modernity raises questions concerning collective work in general and also invites us to examine the social role of architects today. Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

In the first two decades after W.W.II, social scientist heralded Turkey as an exemplar of a 'modernizing' nation in the Western mold. Images of unveiled women working next to clean-shaven men, healthy children in school uniforms, and downtown Ankara's modern architecture all proclaimed the country's success. Although Turkey's modernization began in the late Ottoman era, the establishment of the secular nation-state by Kemal Ataturk in 1923 marked the crystallization of an explicit, elite-driven 'project of modernity' that took its inspiration exclusively from the West. The essays in this book are the first attempt to examine the Turkish experiment with modernity from a broad, interdisciplinary perspective, encompassing the fields of history, the social sciences, the humanities, architecture, and urban planning. As they examine both the Turkish project of modernity and its critics, the contributors offer a fresh, balanced understanding of dilemmas now facing not only Turkey but also many other parts of the Middle East and the world at large.

In this compelling book, Rafik Abdessalem unpacks two major lines of thought. Firstly, he examines why many Westerners dismiss Islam’s vast intellectual, social, theological and cultural heritage as flawed, violent, rigid and fanatical, despite knowing virtually nothing about it. He usefully traces the genesis of this attitude, focusing on how scholars such as Weber, Habermas and others have helped to consolidate the West’s view of itself as civilised, superior, developed and progressive, and how the demonisation of Islam acts as a necessary foil for these notions. Secondly, he explains that Islam is subject to a variety of interpretive choices and schools of thought ranging from legalistic fundamentalism, through rigid rationalism, to spiritual Sufism. By treating Islam, secularity and modernity as distinct and separate, rather than as interconnected and overlapping, Abdessalem makes no attempt to reconcile Islam with modernity or secularity, nor does he place one in opposition to the other. Instead, he looks at the interconnections between these broad and complex subjects. Abdessalem’s analysis is useful in encouraging us to rethink both modernity and Islam, and their relationship with each other. In this rethinking lies the potential for a better understanding of the geopolitics of what is often called ‘the Muslim world’, including the MENA region.

Deconstrution has been widely and damagingly misunderstood. In this provocative new book, Christopher Norris challenges the prevalent idea that deconstruction is merely a more specialized philosophical offshoot of these various trends and cultural fashions grouped under the label of 'postmoderism'.

The concepts of modernity and modernism are amongst the most controversial and vigorously debated in contemporary philosophy and cultural theory. In this intervention, Fredric Jameson-perhaps the most influential and persuasive theorist of postmodernity-excavates and explores these notions in a fresh and illuminating manner.The extraordinary revival of discussions of modernity, as well as of new theories of artistic modernism, demands attention in its own right. It seems clear that the (provisional) disappearance of alternatives to capitalism plays its part in the universal attempt to revive 'modernity' as a social ideal. Yet the paradoxes of the concept illustrate its legitimate history and suggest some rules for avoiding its misuse as well. In this major interpretation of the problematic, Jameson concludes that both concepts are tainted, but nonetheless yield clues as to the nature of the phenomena they purported to theorize. His judicious and vigilant probing of both terms-which can probably not be banished at this late date-helps us clarify our present political and artistic situations.