This book examines the apparent paradox between Europe's ongoing plans for integration, and the continent's enduring cultural, political, and economic diversity. Looking at contemporary issues and setting them in a historical context, the contributors show how this diversity has always been a principle characteristic of European society, and discuss the ways in which nationalism and the nation-state emerged as one means of controlling that heterogeneity. They go on to argue that identity in modern Europe is again becoming multi-faceted, proposing that the continent's geographies can be defined only through inclusivist multiculturalism.

This volume addresses a range of issues which underlie the notions of European identity. Among them: what does it mean to be a European? What place will minorities find in the Europe of the twenty-first century? What roles will women play in the future communities? Will Europe become more open to diversity, or become increasingly introspective?

At the turn of the twentieth century, nations, both sovereign and aspiring, feverishly worked to define, foster, and promote national identity. While historians have recognized the significance of this moment for modern identity formations, it has largely been neglected by art historians. Art, Culture and National Identity in Fin-de-Siècle Europe examines the phenomenon of politicized art and its connections to modernism. In eleven essays that focus on as many nations, an international team of authors explore the complex issues facing artists who helped to form a distinct national identity to audiences at home and abroad. The detailed case studies unravel the matrix of circumstances that fostered nationalistic developments, thereby offering a more nuanced understanding of European art and culture around 1900.

As the EU continues its integration process, the concepts of culture and transnational European belonging remain ambivalent, whether in the realm of socio-historical representation or mass politics. Engaging with recent scholarly debates surrounding the formation of collective transnational identities, this collection draws on the latest empirical case studies to explore the meaning and composition of European identity, the mechanisms that create and shape it and the question of whom it includes. Each author pays close attention to the cultural aspects of identity formation, whether manifested in official, institutional articulations, such as symbols, coinage, ceremonies and discursive manifestations, or in the cultures of the everyday, such as through new forms of communication networks, consumption or leisure. Exploring attempts by various actors - institutions, groups, individuals - to create transnational European identities, European Identity and Culture scrutinizes the cultural formations that have either reignited or emerged in often contradictory relations to the EU project, including local, regional and transnational allegiances. A rich, interdisciplinary investigation of the role of culture in the formation of European identity, whether as a central building block to unity or as a formidable obstacle to a common sense of purpose, this book will be of interest to scholars across the social sciences and humanities working on questions of political culture, European integration, citizenship and (trans-) national identity.

Dressing Up shows why clothes made history and history can be about clothes. It imagines the Renaissance afresh by considering people's appearances: what they wore, how this made them move, what images they created, and how all this made people feel about themselves. Using an astonishing array of sources, Ulinka Rublack argues that an appreciation of people's relationship to appearances and images is essential to an understanding of what it meant to live at this time - and ever since. We read about the head accountant of a sixteenth-century merchant firm who commissioned 136 images of himself elaborately dressed across a lifetime; students arguing with their mother about which clothes they could have; or Nuremberg women wearing false braids dyed red or green. This brilliantly illustrated book draws on a range of insights across the disciplines and allows us to see an entire period in new ways. In integrating its findings into larger arguments about consumption, visual culture, the Reformation, German history, and the relationship of European and global history, it promises to re-shape the field.

An examination of the unique, hybrid media practices generated by Eastern Europe's accelerated transition from late communism to late capitalism. Eastern Europe's historically unprecedented and accelerated transition from late communism to late capitalism, coupled with media globalization, set in motion a scramble for cultural identity and a struggle over access to and control over media technologies. In Identity Games, Anikó Imre examines the corporate transformation of the postcommunist media landscape in Eastern Europe. Avoiding both uncritical techno-euphoria and nostalgic projections of a simpler, better media world under communism, Imre argues that the demise of Soviet-style regimes and the transition of postcommunist nation-states to transnational capitalism has crucial implications for understanding the relationships among nationalism, media globalization, and identity. Imre analyzes situations in which anxieties arise about the encroachment of global entertainment media and its new technologies on national culture, examining the rich aesthetic hybrids that have grown from the transitional postcommunist terrain. She investigates the gaps and continuities between the last communist and first post-communist generations in education, tourism, and children's media culture, the racial and class politics of music entertainment (including Roma Rap and Idol television talent shows), and mediated reconfigurations of gender and sexuality (including playful lesbian media activism and masculinity in "carnivalistic" post-Yugoslav film). Throughout, Imre uses the concepts of play and games as metaphorical and theoretical tools to explain the process of cultural change -- inspired in part by the increasing "ludification" of the global media environment and the emerging engagement with play across scholarly disciplines. In the vision that Imre offers, political and cultural participation are seen as games whose rules are permanently open to negotiation.

The European Union's market integration project has dramatically altered economic activity around Europe. This book presents extensive evidence on how trade has increased, jobs have been created, and European business has been reorganized. The changes in the economy have been accompanied by dramatic changes in how people from different societies interact. This book argues provocatively that these changes have produced a truly transnational-European-society. The book explores the nature of that society and its relationship to the creation of a European identity, popular culture, and politics. Much of the current political conflict around Europe can be attributed to who is and who is not involved in European society. Business owners, managers, professionals, white-collar workers, the educated, and the young have all benefited from European economic integration, specifically by interacting more and more with their counterparts in other societies. They tend to think of themselves as Europeans. Older, poorer, less educated, and blue-collar citizens have benefited less. They view the EU as intrusive on national sovereignty, or they fear its pro-business orientation will overwhelm the national welfare states. They have maintained national identities. There is a third group of mainly-middle class citizens who see the EU in mostly positive terms and sometimes-but not always-think of themselves as Europeans. It is this swing group that is most critical for the future of the European project. If they favor more European cooperation, politicians will oblige. But, if they prefer that policies remain wedded to the nation, European cooperation will stall.