"Citadel" evokes a rich mixture of associations—from images of urban centers of commerce and culture to war and the need to defend what is fortified within. Preserving its layered meanings, O. K. Werckmeister plucks the word from its usual moorings and employs it as a compelling metaphor in a brilliant retrospective of contemporary Western culture.

For over a century, Europe has been characterised by a plurality of capitalist modernities. At any moment, each country possesses its own distinctly modern qualities which are partly shaped through interrelationships with other countries. Each European commodity society has experienced successive, but different overlapping, periods of industrial modernity (large scale factories and urban growth), high modernity (social modernization promoted by social engineering) and hypermodernity (the acceleration of modernity, yielding new circumstances and sensibilities). Interrogating contemporary hypermodern Europe thus requires an exploration of industrial and high modern Europe. Recognising European Modernities explores a century of civilisation through a critical examination of the extreme case of Sweden. Using montage - relayering multiple pasts and on-going present - the book challenges the contemporary obsession with postmodernity, demanding a deeper, more connective understanding of the pleasures and dangers of the European present. The author visits three spectacular spaces: the Stockholm Exhibition of 1897, the Stockholm Exhibition of 1930 and the Globe, a contemporary multi-purpose arena. Analysis of these pivotal spaces reveals the on-going process of modernization as new forms of consumption are repeatedly entangled in changing discourses of power to be reworked and translated into cultural politics.

Author Meaghan Morris asks how feminist culture critics can participate in political struggles about history. Questioning both contemporary cultural theory that imagines a world "beyond" history and feminist approaches to culture that minimize questions of economy, class, and nation, Morris argues that history created by popular culture is never truly "national" in scale or force. 11 photos.

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In this book the author offers a critique of Marxist culture in capitalist society. Focusing on some of the most celebrated instances of traditional "Western Marxism," the author shows how such "icons of the Left" have been progressively detached from their political roots in communist activism to the safe distance of utopian or revolutionary speculations.--Publisher's description.

This revised edition features ten new articles and is fully updated to take account of new critical approaches to post-war American art.

This book rejects apocalyptic pronouncements that the end of the millenium represents the 'end' of nature as well. Remaking Reality brings together contributors from across the human sciences who argue that a notion of 'social nature' provides great hope for the future. Applying a variety of theoretical approaches to social nature, and engaging with debates in politics, science, technology and social movements surrouding race, gender and class, the contributors explroe important and emerging sites where nature is now being remade with considerable social and ecological consequences. The essays are organised around two themes: 'capitalising and envisioning nature' and 'actors, networks and the politics of hybridity'. An afterword by Neil Smith reflects on the problems and possibilities of future names. For critics and activists alike, Remaking Reality provides essential theoretical and political tools to rethink environmentalism and progressive social natures for the twenty first century.