The driving cultural force of that form of life we call ‘modern’ is the desire to make the world controllable. Yet it is only in encountering the uncontrollable that we really experience the world – only then do we feel touched, moved and alive. A world that is fully known, in which everything has been planned and mastered, would be a dead world. Our lives are played out on the border between what we can control and that which lies outside our control. But because we late-modern human beings seek to make the world controllable, we tend to encounter the world as a series of objects that we have to conquer, master or exploit. And precisely because of this, ‘life,’ the experience of feeling alive and truly encountering the world, always seems to elude us. This in turn leads to frustration, anger and even despair, which then manifest themselves in, among other things, acts of impotent political aggression. For Rosa, to encounter the world and achieve resonance with it requires us to be open to that which extends beyond our control. The outcome of this process cannot be predicted, and this is why moments of resonance are always concomitant with moments of uncontrollability. This short book – the sequel to Rosa’s path-breaking work on social acceleration and resonance – will be of great interest students and scholars in sociology and the social sciences and to anyone concerned with the nature of modern social life.

In People of Paradox, Terryl Givens traces the rise and development of Mormon culture from the days of Joseph Smith in upstate New York, through Brigham Young's founding of the Territory of Deseret on the shores of Great Salt Lake, to the spread of the Latter-Day Saints around the globe. Throughout the last century and a half, Givens notes, distinctive traditions have emerged among the Latter-Day Saints, shaped by dynamic tensions--or paradoxes--that give Mormon cultural expression much of its vitality. Here is a religion shaped by a rigid authoritarian hierarchy and radical individualism; by prophetic certainty and a celebration of learning and intellectual investigation; by existence in exile and a yearning for integration and acceptance by the larger world. Givens divides Mormon history into two periods, separated by the renunciation of polygamy in 1890. In each, he explores the life of the mind, the emphasis on education, the importance of architecture and urban planning (so apparent in Salt Lake City and Mormon temples around the world), and Mormon accomplishments in music and dance, theater, film, literature, and the visual arts. He situates such cultural practices in the context of the society of the larger nation and, in more recent years, the world. Today, he observes, only fourteen percent of Mormon believers live in the United States. Mormonism has never been more prominent in public life. But there is a rich inner life beneath the public surface, one deftly captured in this sympathetic, nuanced account by a leading authority on Mormon history and thought.

In contemporary society the idea of ‘revolution’ seems to have become obsolete. What is more untimely than the idea of revolution today? At the same time, however, the idea of radical change no longer refers to exceptional circumstances but has become normalized as part of daily life. Ours is a ‘culture’ of permanent revolution in which constant systemic disembedding demands a meta-stable subjectivity in continuous transformation. In this sense, the idea of revolution is painfully timely. This paradoxical coincidence, the simultaneous absence and presence of the desire for radical change in contemporary society, is the point of departure for the symptomatic reading this book offers. The book addresses the social, political and cultural significance of revolt and revolution in three dimensions. First, it analyzes revolt and revolution as ‘events’ which are of history but not reducible to it. Second, it elaborates on theories that grant revolt and revolution a central place in their structure. Thirdly, it discusses revolutionary or emancipatory theories that seek to participate in radical change. Further, since both revolt and revolution involve the critique of what exists, of actual reality, the implications of the intimate relationship between revolt, revolution and critique are explicated.

'Compassion, A Paradox in Art and Society', is developed in close collaboration with artist Rini Hurkmans, initiator of the conceptual art work 'the Flag of Compassion'. The book aims to show what space an artwork can occupy in the public domain, and in a network of philosophical notions, art theory, societal institutions, collective identity formation and individual experience. Through its hybrid character it wants to form a case study for a new form of art analysis. Simultaneously, it deals with the social effectivity of art and questions how art nowadays can be relevant on a social and political level.

The writings of Bernard Mandeville mark an important transition between enlightenment, social philosophy, and modern science. Born in Holland in 1670 and educated as a physician, Mandeville spent the greater part of his working life in England, where he died in 1733. In some respects, Mandeville can be compared to Voltaire - Mandeville's junior by twenty-four years.Mandeville had the knack of making controversies volcanic and of arousing heated debate about any topic on which he chose to comment - and he chose to comment on virtually everything. He was especially1 interested in social evolution, morality and society, prostitution and romantic love, crime and its deterrence, and in social aspects of religion. His views on these and countless other topics cohere in his continual fascination with the consequences of social and economic actions that run counter to anticipations and intentions and in the paradoxical or ironic cast that such outcomes often have. In Paradox and Society, Louis Schneider is the first to offer a full consideration of Mandeville as a sociologist.Schneider offers an intellectual and characterological portrait of Mandeville, examining his writings and reactions to him over time. Schneider goes on to review Mandeville's theory of human nature, and explores his hotly contested notion of the paradox of private vices and public benefits - that the arousal of desires is a necessary precondition for the stimulation of social and economic development.Social action outside the marketplace, and Mandeville's problematic theory of social evolution, are next considered. The volume ends with an examination of paradox, irony, and satire in society. In this detailed analysis of one of the world's most controversial social critics, Schneider shows us that Mandeville offers a vision of human society that is of enduring significance. He challenges the reader to consider how that vision might operate in today's world.

Exploring Shakespeare's intellectual interest in placing both characters and audiences in a state of uncertainty, mystery, and doubt, this book interrogates the use of paradox in Shakespeare's plays and in performance. By adopting this discourse-one in which opposites can co-exist and perspectives can be altered, and one that asks accepted opinions, beliefs, and truths to be reconsidered-Shakespeare used paradox to question love, gender, knowledge, and truth from multiple perspectives. Committed to situating literature within the larger culture, Peter Platt begins by examining the Renaissance culture of paradox in both the classical and Christian traditions. He then looks at selected plays in terms of paradox, including the geographical site of Venice in Othello and The Merchant of Venice, and equity law in The Comedy of Errors, Merchant, and Measure for Measure. Platt also considers the paradoxes of theater and live performance that were central to Shakespearean drama, such as the duality of the player, the boy-actor and gender, and the play/audience relationship in the Henriad, Hamlet, As You Like It, Twelfth Night, Antony and Cleopatra, The Winter's Tale, and The Tempest. In showing that Shakespeare's plays create and are created by a culture of paradox, Platt offers an exciting and innovative investigation of Shakespeare's cognitive and affective power over his audience.

Imagined Societies explores how images of 'society' and of national belonging have been forged by the media and politicians through the portrayal of immigrants and their 'failed integration'. Examining the experience of the Netherlands and other Western European countries, this book analyses how discussions of integration, culture, religion, and sexuality promote notions of national societies.