Periodization is an ever-present feature of the grammar of history-writing. As with all grammatical rules, the order it imposes can structure but also stifle historical interpretations. Though few historians consider their period boundaries as anything more than useful guidelines, heuristic artifice all too easily congeals into immovable structure, blinkering the historical gaze. In this cross-disciplinary volume, an international group of historians and cultural scholars considers different ways in which accepted period boundaries in modern European history and cultural studies can be challenged and rethought. Alongside a theoretical introduction and epilogue, the volume contains seven case studies exploring hitherto under-researched continuities and discontinuities in the social, cultural, intellectual, literary, labour and art history of 19th- and 20th-century Europe, with a particular focus on the continent’s East. Topics covered include French anti-communism, peasant memories of serfdom, cosmopolitan art in a nationalist age, the communist takeover of Poland, Russian literary history, and national day traditions in East-Central Europe. To problematize period boundaries, the chapters in this volume adopt the perspective of social groups that standard periodization schemes have ignored; shine a light on "awkward" actors who have appeared out of step with canonical understandings of their period; consider how historical actors themselves divide up history and how this informs historical practice; and explore the difficulties that the non-synchronicity of different historical processes can pose for periodization.

Studying the entangled histories of the areas conceptualized as Middle Eastern and North Atlantic World in the interwar years is crucial to understanding the two areas' respective and common histories until today. However, many of the manifold connections, exchanges, and entanglements between the areas have not received thorough scholarly attention yet. The contributors to this volume address this by bringing together various innovative and interdisciplinary approaches to the topic. They thereby further the understanding of the two areas' entangled histories and diversify prevailing concepts and narratives. Through this, the volume also offers enriching insights into the global history of the early 20th century.

Time and the Rhythms of Emancipatory Education argues that by rethinking the way we relate to time, we can fundamentally rethink the way we conceive education. Beyond the contemporary rhetoric of acceleration, speed, urgency or slowness, this book provides an epistemological, historical and theoretical framework that will serve as a comprehensive resource for critical reflection on the relationship between the experience of time and emancipatory education. Drawing upon time and rhythm studies, complexity theories and educational research, Alhadeff-Jones reflects upon the temporal and rhythmic dimensions of education in order to (re)theorize and address current societal and educational challenges. The book is divided into three parts. The first begins by discussing the specificities inherent to the study of time in educational sciences. The second contextualizes the evolution of temporal constraints that determine the ways education is institutionalized, organized, and experienced. The third and final part questions the meanings of emancipatory education in a context of temporal alienation. This is the first book to provide a broad overview of European and North-American theories that inform both the ideas of time and rhythm in educational sciences, from school instruction, curriculum design and arts education, to vocational training, lifelong learning and educational policies. It will be of key interest to academics, researchers and postgraduate students in the fields of philosophy of education, sociology of education, history of education, psychology, curriculum and learning theory, and adult education. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

The social realist movement, with its focus on proletarian themes and its strong ties to New Deal programs and leftist politics, has long been considered a depression-era phenomenon that ended with the start of World War II. This study explores how and why African American writers and visual artists sustained an engagement with the themes and aesthetics of social realism into the early cold war-era--far longer than a majority of their white counterparts. Stacy I. Morgan recalls the social realist atmosphere in which certain African American artists and writers were immersed and shows how black social realism served alternately to question the existing order, instill race pride, and build interracial, working-class coalitions. Morgan discusses, among others, such figures as Charles White, John Wilson, Frank Marshall Davis, Willard Motley, Langston Hughes, Sterling Brown, Elizabeth Catlett, and Hale Woodruff.

This book examines women’s activism in and beyond Central and Eastern Europe and transnationally within and across different historical periods, political regimes, and scales of activism. The authors explore the wide range of activist agendas, repertoires, and forums in which women sought to advocate for their gender and labour interests. Women were engaged in trade unions, women-only organizations, state institutions, and international and intellectual networks, and were active on the shopfloor. Rectifying geopolitical and thematic imbalances in labour and gender history, this volume is a valuable resource for scholars and students of women’s activism, social movements, political and intellectual history, and transnationalism. Contributors are: Eloisa Betti, Masha Bratishcheva, Jan A. Burek, Selin Çağatay, Daria Dyakonova, Mátyás Erdélyi, Dóra Fedeles-Czeferner, Eric Fure-Slocum, Alexandra Ghiț, Olga Gnydiuk, Maren Hachmeister, Veronika Helfert, Natalia Jarska, Marie Láníková, Ivelina Masheva, Jean-Pierre Liotard-Vogt, Denisa Nešťáková, Sophia Polek, Zhanna Popova, Büşra Satı, Masha Shpolberg, Georg Spitaler, Jelena Tešija, Eszter Varsa, Johanna Wolf and Susan Zimmermann.

In Medieval Boundaries, Sharon Kinoshita examines the role of cross-cultural contact in twelfth- and early thirteenth-century French literature. Starting from the observation that many of the earliest and best-known works of the French literary tradition are set on or beyond the borders of the French-speaking world, she reads the Chanson de Roland, the lais of Marie de France, and a variety of other texts in an expanded geographical frame that includes the Iberian peninsula, the Welsh marches, and the eastern Mediterranean. In Kinoshita's reconceptualization of the geographical and cultural boundaries of the medieval West, such places become significant not only as sites of conflict but also as spaces of intense political, economic, and cultural negotiation. An important contribution to the emerging field of medieval postcolonialism, Kinoshita's work explores the limitations of reading the literature of the French Middle Ages as an inevitable link in the historical construction of modern discourses of Orientalism, colonialism, race, and Christian-Muslim conflict. Rather, drawing on recent historical and art historical scholarship, Kinoshita uncovers a vernacular culture at odds with official discourses of crusade and conquest. Situating each work in its specific context, she brings to light the lived experiences of the knights and nobles for whom this literature was first composed and—in a series of close readings informed by postcolonial and feminist theory—demonstrates that literary representations of cultural encounters often provided the pretext for questioning the most basic categories of medieval identity. Awarded honorable mention for the 2007 Modern Language Association Aldo and Jeanne Scaglione Prize for French and Francophone Studies

The conditions of alienation and exclusion are inextricably linked to the experience of the migrant. This volume explores both the increasing emergence of the theme of migration as a dominant subject matter in art as well as the ways in which the varied mobilities of a globalized world have radically reshaped art's conditions of production, reception, and display. In a selection of essays, fourteen distinguished scholars explore the universality of conditions of global migration and interdependence, inviting a rethinking of existing perspectives in postcolonial, transnational, and diaspora studies, and laying the foundation for empirical and theoretical directions beyond the terms of these traditional frameworks.