The first half of the twentieth century was fraught with global tensions and political machinations. However, for all the destruction in that period, these geopolitical conditions in Manchuria cultivated an extraordinary variety of architecture and urban planning, which has completely escaped international attention until now. With over forty carefully chosen images, Ultra-Modernism: Architecture and Modernity in Manchuria is the first book in English that illustrates Manchuria’s encounter with modernity through its built environment. Edward Denison and Guangyu Ren take readers through Russia’s early territorial claims, Japan’s construction of the South Manchuria Railway (SMR), and the establishment of Manchukuo in 1932. The book examines in detail the creation of modern cities along the SMR and focuses on three of the most important modern urban centres in Manchuria: the Russian-dominated city of Harbin, the port of Dalian, and the new capital of Manchukuo, Hsinking (Changchun). Like so much of the world outside ‘the West’ during the twentieth century, Manchuria’s encounter with modernity is merely a faint whisper drowned out by the deafening master narrative of Western-centric modernism. This book attempts to redress an imbalance in the modern history of China by studying the impact of Japan on architecture and planning beyond the depredations of the Sino-Japanese War. ‘Ultra-Modernism: Architecture and Modernity in Manchuria is a concise, fascinating reminder of northeast China’s transformation a century ago, when it was known as Manchuria. Denison and Ren show how Dalian, Shenyang, Changchun, and Harbin went from a sleepy port, a decaying imperial seat, and small agricultural settlements to sleek, manicured metropolises linked by the world’s longest railway to Europe. This is an excellent addition to both syllabus and bookshelf.’ —Michael Meyer, author of In Manchuria: A Village Called Wasteland and the Transformation of Rural China and The Last Days of Old Beijing: Life in the Vanishing Backstreets of a City Transformed ‘Manchuria today conjures up images of rusting heavy industry and a hostile environment. But beneath the coal dust is a built environment that was once at the cutting edge of what was meant to be modern. This creative and comprehensive book takes readers back to a time when the region was an outdoor laboratory for modernity and cosmopolitanism.’ —James Carter, author of Creating a Chinese Harbin: Nationalism in an International City, 1916–1932

This book recreates an exciting and productive period in which creative artists felt they were witnessing the birth of a new age. Aaron Copland, Henry Cowell, George Gershwin, Roy Harris, and Virgil Thomson all began their careers then, as did many of their less widely recognized compatriots. While the literature and painting of the 1920's have been amply chronicled, music has not received such treatment. Carol Oja's book sets the growth of American musical composition against parallel developments in American culture, provides a guide for the understanding of the music, and explores how the notion of the concert tradition, as inherited from Western Europe, was challenged and revitalized through contact with American popular song, jazz, and non-Western musics.

Exploring the ideas of consensus, resistance and rupture, this book contributes an important and nuanced reflection to the current debate on modernism in music.

Eleanor Dark (1901–85) is one of Australia’s most innovative 20th-century writers. Her extensive oeuvre includes ten novels published from the early 1930s to the late 1950s, and represents a significant engagement with global modernity from a unique position within settler culture. Yet Dark’s contribution to 20th-century literature has been undervalued in the fields of both Australian literary studies and world literature. Although two biographies have been written about her life, there has been no book-length critical study of her writing published since 1976. Middlebrow Modernism counters this neglect by providing the first full-length critical survey of Eleanor Dark’s writing to be published in over four decades. Focusing on the fiction that Dark produced during the interwar years and reading this in the context of her larger body of work, this book positions Dark’s writing as important to the study of Australian literature and global modernism. Melinda Cooper argues that Dark’s fiction exhibits a distinctive aesthetic of middlebrow modernism, which blends attributes of literary modernism with popular fiction. It seeks to mediate and reconcile apparent binaries: modernism and mass culture; liberal humanism and experimental aesthetics; settler society and international modernity. The term middlebrow modernism also captures the way Dark negotiated cosmopolitan commitments with more place-based attachments to nation and local community within the mid-20th century. Middlebrow Modernism posits that Dark’s fiction and the broader phenomenon of Australian modernism offer essential case studies for larger debates operating within global modernist and world literature studies, providing perspectives these fields might otherwise miss.

"In their introduction to this Handbook, the editors affirm: ′Many sociologists have come to realise that it makes no sense now to omit religion from the repertoire of social scientific explanations of social life′. I wholeheartedly agree. I also suggest that this wide-ranging set of essays should become a starting-point for such enquiries. Each chapter is clear, comprehensive and well-structured - making the Handbook a real asset for all those engaged in the field." - Grace Davie, University of Exeter "Serious social scientists who care about making sense of the world can no longer ignore the fact that religious beliefs and practices are an important part of this world... This Handbook is a valuable resource for specialists and amateurs alike. The editors have done an exceptionally fine job of incorporating topics that illuminate the range and diversity of religion and its continuing significance throughout the world." - Robert Wuthnow, Princeton University At a time when religions are increasingly affecting, and affected by, life beyond the narrowly sacred sphere, religion everywhere seems to be caught up in change and conflict. In the midst of this contention and confusion, the sociology of religion provides a rich source of understanding and explanation. This Handbook presents an unprecedentedly comprehensive assessment of the field, both where it has been and where it is headed. Like its many distinguished contributors, its topics and their coverage are truly global in their reach. The Handbook′s 35 chapters are organized into eight sections: basic theories and debates; methods of studying religion; social forms and experiences of religion; issues of power and control in religious organizations; religion and politics; individual religious behaviour in social context; religion, self-identity and the life-course; and case studies of China, Eastern Europe, Israel, Japan, and Mexico. Each chapter establishes benchmarks for the state of sociological thinking about religion in the 21st century and provides a rich bibliography for pursuing its subject further. Overall, the Handbook stretches the field conceptually, methodologically, comparatively, and historically. An indispensable source of guidance and insight for both students and scholars. Choice ′Outstanding Academic Title′ 2009

The first major study of Alan Bush, this book provides new perspectives on twentieth-century music and communism. British communist, composer of politicised works, and friend of Soviet musicians, Bush proved to be 'a lightning rod' in the national musical culture. His radical vision for British music prompted serious reflections on aesthetics and the rights of artists to private political opinions, as well as influencing the development of state-sponsored music making in East Germany. Rejecting previous characterisations of Bush as political and musical Other, Joanna Bullivant traces his aesthetic project from its origins in the 1920s to its collapse in the 1970s, incorporating discussion of modernism, political song, music theory, opera, and Bush's response to the Soviet music crisis of 1948. Drawing on a wealth of archival sources, including recently released documents from MI5, this book constructs new perspectives on the 'cultural Cold War' through the lens of the individual artist.

The theme ofthe conference at which the papers in this book were presented was'Systems Thinking in Europe'. Members of the United Kingdom Systems Society (UKSS) were conscious that the systems movementflourishes notonly in the UK, America and the Antipodes, but also in continental Europe, both East and West, and in the USSR, a nation increasingly being welcomed by the European comity. Membership of the UKSS had not perhaps had the opportunity, however, of hearing important new ideas from continental Europe, and this conference provided an opportunity to do so. Some interesting papers are to be found here from both the West and the East, if the editors may be forgiven for perpetuating what may be an increasingly irrelevant dichotomy. One lesson to be learned from this conference, though, is that systems thinking is truly international. This is not to say that there is one systems paradigm unifonnly applied, however. Perhaps the core of systems thinking is that one is interested in complex 'wholes' with emergent properties, to which cybernetic ideas can be applied. Examples of such systems thinking can be found in these proceedings, for example in the section entitled "Applications of Systems Thinking". Attempts to bring about change with these ideas, however, have given rise to a diversity of approaches, as is evidenced by the papers dealing with the application of methodologies in the 'hard' and 'soft' systems traditions.