Interpreting the work of one of the most influential thinkers of the 20th century, The Reluctant Modernism of Hannah Arendt rereads Arendt's political philosophy in light of newly gained insights into the historico-cultural background of her work. Arguing against the standard interpretation of Hannah Arendt as an anti-modernist lover of the Greek polis, author Seyla Benhabib contends that Arendt's thought emerges out of a double legacy: German Existenz philosophy, particularly the thought of Martin Heidegger, and her experiences as a German-Jewess in the age of totalitarianism. This important volume reconsiders Arendt's theory of modernity, her concept of the public sphere, her distinction between the social and the political, her theory of totalitarianism, and her critique of the modern nation state, including her life long involvement with Jewish and Israeli politics.

In the last two decades of the nineteenth century, Americans were faced with the challenges and uncertainties of a new era. The comfortable Victorian values of continuity, progress, and order clashed with the unsettling modern notions of constant change, relative truth, and chaos. Attempting to embrace the intellectual challenges of modernism, American thinkers of the day were yet reluctant to welcome the wholesale rejection of the past and destruction of traditional values. In Reluctant Modernism: American Thought and Culture, 1880-1900, George Cotkin surveys the intellectual life of this crucial transitional period. His story begins with the Darwinian controversies, since the mainstream of American culture was just beginning to come to grips with the implications of the Origins of Species, published in 1859. Cotkin demonstrates the effects of this shift in thinking on philosophy, anthropology, and the newly developing field of psychology. Drawing on his extensive knowledge of these fields, he explains clearly and concisely the essential tenets of such major thinkers and writers as William James, Franz Boas, Charlotte Perkins Gilman, Henry Adams, and Kate Chopin. Throughout this fascinating, readable history of the American fin de si cle run the contrasting themes of continuity and change, faith and rationalism, despair over the meaninglessness of life and, ultimately, a guarded optimism about the future.

In this book Aleš Debeljak offers a refreshing alternative to postmodernists such as Baudrillard who declare the death of art conceived as yet another source of rootless circulating fictions. Inspired by the melancholy critical theory of Adorno and Bejamin, Debeljak shows that with the dawning of modernity, art was made autonomous - art production was effectively emancipated from the exigencies of everyday life and its guiding ideal of purposive rationality. The deterioration of bourgeois liberal individualism into the narcissism of modern mass society accompanied the decomposition of art into simplified mass art and commercialized kitsch. Today, argues Debeljak, postmodern art is subjected to infinite reproducibility, total integration into mass society, and political resignation - it no longer represents an alternative reality. The postmodern institution of art thus cannot be simply cured of modern structures and assumptions, but is, instead, fated to a continuous and painful relationship with modernity. -- from back cover.

Many critical theorists talk and write about the day after the revolution, but few have actually participated in the constitution of a revolutionary government. Emeritus Justice Albie Sachs was a freedom fighter for most of his life. He then played a major role in the negotiating committee for the new constitution of South Africa, and was subsequently appointed to the new Constitutional Court of South Africa. Therefore, the question of what it means to make the transition from a freedom fighter to a participant in a revolutionary government is not abstract, in Hegel’s sense of the word, it is an actual journey that Albie Sachs undertook. The essays in this book raise the complex question of what it actually means to make this transition without selling out to the demands of realism. In addition, the preface written by Emeritus Justice Albie Sachs and his interview with Drucilla Cornell and Karin van Marle, further address key questions about revolution in the twentieth- and twenty-first centuries: from armed struggle to the organization of a nation state committed to ethical transformation in the name of justice. Albie Sachs and transformation in South Africa: from revolutionary activist to constitutional court judge illuminates the theoretical and practical experiences of revolution and its political aftermath. With first-hand accounts alongside academic interrogation, this unique book will intrigue anyone interested in the intersection of Law and Politics.

This study explores the rise and nature of modernist approaches to economics, sociology, international relations, administration, language, history and anthropology.

A distinguished team of contributors examines the primary themes of Arendt's multi-faceted thought.

The essays collected here deal with modernist writers who, on the whole, felt 'reluctant' about their modernist status because they believed that it was just as important to look backward as it was to look forward. Indeed, for most of them looking backward was more important because it was only through the past that one could understand one's proper place in the present and in the future. That is why in Huxley's Brave New World it is the rejection of the past in the future - and by implication in the present - that makes its satire so penetrating. Modernism, in other words, means for these writers not a radical break with the past but a continuing search for what still connects them (and us) vitally with it. Peter Firchow, Professor of English at the University of Minnesota, is the author of several books on modern and modernist literary subjects, including books on Huxley, Conrad, and Auden. The publication of some of his hitherto uncollected essays in this volume is intended to honor