The rise of China and its status as a leading global factory are altering the way people live and consume. At the same time, the world appears wary of the real costs involved. Fantasy Islands probes Chinese, European, and American eco-desire and eco-technological dreams, and examines the solutions they offer to environmental degradation in this age of global economic change. Uncovering the stories of sites in China, including the plan for a new eco-city called Dongtan on the island of Chongming, mega-suburbs, and the Shanghai World Expo, Julie Sze explores the flows, fears, and fantasies of Pacific Rim politics that shaped them. She charts how climate change discussions align with US fears of China's ascendancy and the related demise of the American Century, and she considers the motives of financial and political capital for eco-city and ecological development supported by elite power structures in the UK and China. Fantasy Islands shows how ineffectual these efforts are while challenging us to see what a true eco-city would be.

The Icon Project argues that the transnational capitalist class mobilizes two forms of iconic architecture--unique icons recognized as works of art, notably designed by global starchitects (such as Frank Gehry and Zaha Hadid); and typical icons copying elements of unique icons--to promote the same ideological message: the culture-ideology of consumerism.

This book discusses the economic and political conditions that facilitate megaproject implementation and what are the impacts on urbanity and livability of such costly mode of urban development. It includes contributions from sociologists, planners, geographers and architects making it a truly multidisciplinary project.

These twelve original essays by geographers and anthropologists offer a deep critical understanding of Allan Pred’s pathbreaking and eclectic cultural Marxist approach, with a focus on his concept of “situated ignorance”: the production and reproduction of power and inequality by regimes of truth through strategically deployed misinformation, diversions, and silences. As the essays expose the cultural and material circumstances in which situated ignorance persists, they also add a previously underexplored spatial dimension to Walter Benjamin’s idea of “moments of danger.” The volume invokes the aftermath of the July 2011 attacks by far-right activist Anders Breivik in Norway, who ambushed a Labor Party youth gathering and bombed a government building, killing and injuring many. Breivik had publicly and forthrightly declared war against an array of liberal attitudes he saw threatening Western civilization. However, as politicians and journalists interpreted these events for mass consumption, a narrative quickly emerged that painted Breivik as a lone madman and steered the discourse away from analysis of the resurgent right-wing racisms and nationalisms in which he was immersed. The Breivik case is merely one of the most visible recent examples, say editors Heather Merrill and Lisa Hoffman, of the unchallenged production of knowledge in the public sphere. In essays that range widely in topic and setting—for example, brownfield development in China, a Holocaust memorial in Germany, an art gallery exhibit in South Africa—this volume peels back layers of “situated practices and their associated meaning and power relations.” Spaces of Danger offers analytical and conceptual tools of a Predian approach to interrogate the taken-for-granted and make visible and legible that which is silenced.

During the Mao era, China’s museums served an explicit and uniform propaganda function, underlining official Party history, eulogizing revolutionary heroes, and contributing to nation building and socialist construction. With the implementation of the post-Mao modernization program in the late 1970s and 1980s and the advent of globalization and market reforms in the 1990s, China underwent a radical social and economic transformation that has led to a vastly more heterogeneous culture and polity. Yet China is dominated by a single Leninist party that continues to rely heavily on its revolutionary heritage to generate political legitimacy. With its messages of collectivism, self-sacrifice, and class struggle, that heritage is increasingly at odds with Chinese society and with the state’s own neoliberal ideology of rapid-paced development, glorification of the market, and entrepreneurship. In this ambiguous political environment, museums and their curators must negotiate between revolutionary ideology and new kinds of historical narratives that reflect and highlight a neoliberal present. In Exhibiting the Past, Kirk Denton analyzes types of museums and exhibitionary spaces, from revolutionary history museums, military museums, and memorials to martyrs to museums dedicated to literature, ethnic minorities, and local history. He discusses red tourism—a state sponsored program developed in 2003 as a new form of patriotic education designed to make revolutionary history come alive—and urban planning exhibition halls, which project utopian visions of China’s future that are rooted in new conceptions of the past. Denton’s method is narratological in the sense that he analyzes the stories museums tell about the past and the political and ideological implications of those stories. Focusing on “official” exhibitionary culture rather than alternative or counter memory, Denton reinserts the state back into the discussion of postsocialist culture because of its centrality to that culture and to show that state discourse in China is neither monolithic nor unchanging. The book considers the variety of ways state museums are responding to the dramatic social, technological, and cultural changes China has experienced over the past three decades.

This collection of essays highlights the need for sociological and political analysis of actual alternatives to capitalism and the existing system of so-called nation states. It challenges the conventional idea that capitalism can be successfully reformed to meet the needs of most people in the world, confronting it with the existential threats posed by the perfect storm of climate change and the Anthropocene, hyper-urbanization, and the Coronavirus pandemic. Written over a period of 50 years, it charts the ways in which capitalism and socialism have evolved as global systems, their successes and failures, to the point that “it is easier to imagine the end of the world than the end of capitalism”. It offers ways forward, community by community.