In the 1990s, Vienna's Jews and queers abandoned their clandestine existence and emerged into the city's public sphere in unprecedented numbers. Symptoms of Modernity traces this development in the context of Central European history. Jews and homosexuals are signposts of an exclusionary process of nation-building. Cast in their modern roles in the late nineteenth century, they functioned as Others, allowing a national community to imagine itself as a site of ethnic and sexual purity. In Matti Bunzl's incisive historical and cultural analysis, the Holocaust appears as the catastrophic culmination of this violent project, an attempt to eradicate modernity's abject by-products from the body politic. As Symptoms of Modernity shows, though World War II brought an end to the genocidal persecution, the nation's exclusionary logic persisted, accounting for the ongoing marginalization of Jews and homosexuals. Not until the 1970s did individual Jews and queers begin to challenge the hegemonic subordination—a resistance that, by the 1990s, was joined by the state's attempts to ensure and affirm the continued presence of Jews and queers. Symptoms of Modernity gives an account of this radical cultural reversal, linking it to geopolitical transformations and to the supersession of the European nation-state by a postmodern polity.

In the 1990s, Vienna's Jews and queers abandoned their clandestine existence and emerged into the city's public sphere in unprecedented numbers. 'Symptoms of Modernity' traces this development in the context of Central European history.

Symptoms of an Unruly Age compares the writings of Li Zhi (1527–1602) and his late-Ming compatriots to texts composed by their European contemporaries, including Montaigne, Shakespeare, and Cervantes. Emphasizing aesthetic patterns that transcend national boundaries, Rivi Handler-Spitz explores these works as culturally distinct responses to similar social and economic tensions affecting early modern cultures on both ends of Eurasia. The paradoxes, ironies, and self-contradictions that pervade these works are symptomatic of the hypocrisy, social posturing, and counterfeiting that afflicted both Chinese and European societies at the turn of the seventeenth century. Symptoms of an Unruly Age shows us that these texts, produced thousands of miles away from one another, each constitute cultural manifestations of early modernity.

Lucretius's long shadow falls across the disciplines of literary history and criticism, philosophy, religious studies, classics, political philosophy, and the history of science. The best recent example is Stephen Greenblatt's popular account of the Roman poet's De Rerum Natura (On the Nature of Things) rediscovery by Poggio Bracciolini, and of its reception in early modernity, winner of both a Pulitzer Prize and National Book Award. Despite the poem's newfound influence and visibility, very little cross-disciplinary conversation has taken place. This edited collection brings together essays by distinguished scholars to examine the relationship between Lucretius and modernity. Key questions weave this book's ideas and arguments together: What is the relation between literary form and philosophical argument? How does the text of De rerum natura allow itself to be used, at different historical moments and to different ends? What counts as reason for Lucretius? Together, these essays present a nuanced, skeptical, passionate, historically sensitive, and complicated account of what is at stake when we claim Lucretius for modernity.

The Violence of Modernity turns to Charles Baudelaire, one of the most canonical figures of literary modernism, in order to reclaim an aesthetic legacy for ethical inquiry and historical critique. Works of modern literature are commonly theorized as symptomatic responses to the trauma of history. In a climate that tends to privilege crisis over critique, Debarati Sanyal argues that it is urgent to rethink literary experience in terms that recall its contestatory potential. Examining Baudelaire's poems afresh, she shifts the focus of critical attention toward an account of modernism as an active engagement with violence, specifically the violence of history in nineteenth-century France. Sanyal analyzes a literary current that uses the traditional hallmarks of modernism—irony, intertextuality, self-reflexivity, and formalism—to challenge the historical violence of modernity. Baudelaire and the committed ironists writing in his wake teach us how to read and resist the violence of history, and thereby to challenge the melancholy tenor of our contemporary "wound culture." In a series of provocative readings, Sanyal presents Baudelaire's poetry as an aesthetic form that contests historical violence through rhetorical strategies of complicity, counterviolence, and critique. The book develops a new account of Baudelaire's significance as a modernist by dislodging him both from his traditional status as a practitioner of "art for art's sake" and from his more recent incarnation as the poet of trauma. Following her extended analysis of Baudelaire's poetry, Sanyal in later chapters considers a number of authors influenced by his strategies—including Rachilde, Virginie Despentes, Albert Camus, and Jean-Paul Sartre—to examine the relevance of their interventions for our current climate of trauma and terror. The result is a study that underscores how Baudelaire's legacy continues to energize literary engagements with the violence of modernity.

Behler discusses the current state of thought on modernity and postmodernity, detailing the intellectual problems to be faced and examining the positions of such central figures in the debate as Lyotard, Habermas, Rorty, and Derrida. He finds that beyond the “limits of communication,” further discussion must be carried out through irony. The historical rise of the concept of modernity is examined through discussions of the querelle des anciens et des modernes as a break with classical tradition, and on the theoretical writings of de Stael, the English romantics, and the great German romantics Schlegel, Hegel, and Nietzsche. The growth of the concept of irony from a formal rhetorical term to a mode of indirectness that comes to characterize thought and discourse generally is then examined from Plato and Socrates to Nietzsche, who avoided the term “irony” but used it in his cetnral concept of the mask.