This book explores modernity, the disciplines, and their interplay by drawing in critical considerations of time, space, and their enmeshments. Based in anthropology and history, and drawing on social-political theory (as well as other, complementary, critical perspectives), it focuses on socio-spatial/disciplinary subjects and hierarchical-coeval tousled temporalities. The spatial/temporal templates reveal how modern enticements and antinomies, far from being analytical abstractions, intimate instead ontological attributes and experiential dimensions of the worlds in which we live, and the spaces and times that we inhabit and articulate. Then, the book considers the oppositions and enchantments, the contradictions and contentions, and the identities and ambivalences spawned under modernity. At the same time, rather than approach such antinomies, enticements, and ambiguities as analytical errors or historical lacks, which await their correction or overcoming, it attempts to critically yet cautiously unfold these elements as constitutive of modern worlds. The book draws on social theory, political philosophy, and other scholarship in the critical humanities in order to make its claims concerning the mutual binds between everyday oppositions, routine enchantments, temporal ruptures, and spatial hierarchies of a modern provenance. Then, it turns to issues of identity and modernity. Finally, the book explores the terms of modernism on the Indian subcontinent.
campus that wants to assert tradition and continuity in the midst of the renewal, modernity, and growth that characterise the city and the region. But the immediate experience of tradition and continuity is a double illusion.
First, the view is a piece of historical stagecraft. In several cases, the architecture is historicised and refers to the styles of previous periods. The barrow with runic stones is a memorial from 1868; the runic stones used to stand in completely different locations. The Academic Society’s medieval castle is from 1850–1851; the cathedral
This chapter considers aspects of
the interplay of modernity and history, as entailing pervasive
procedures of the temporalization of space and the spatialization of
time. We have seen that these protocols have twin dimensions: on the one
hand, they entail routine projections of historical time as necessarily
homogeneous and yet founded on inaugural spatial ruptures; on the other
This chapter focuses on questions
and contentions of identity and modernity, entailing stipulations of
time and space. Instead of approaching identity as an already given
entity that is principally antithetical to modernity, in speaking of
identities my reference is to wide-ranging processes of formations of
subjects, expressing not only particular personhoods but also collective
This book explores modernity, the
disciplines, and their interplay by drawing in critical considerations
of time, space, and their enmeshments. Based in anthropology and
history, and drawing on social-political theory (as well as other,
complementary, critical perspectives), it focuses on
socio-spatial/disciplinary subjects and hierarchical-coeval tousled
This chapter is cast as a personal
narrative. It unravels how I arrived at inklings and understandings of
space and time – alongside those of disciplines and subjects,
modernity and identity – that were explored in the Introduction
and which lie at the core of this book. At stake are intimations that
are at once familiar and strange. For, born to anthropologist parents, I
technology of modernity in order to succeed.
Even so, despite all the words about success, the campaign appears to have been associated with seven paradoxes, which may be reformulated as questions. The contradictions are to do with the impossibility of preserving the past; the relationship between preservation and change; protection and preservation as an exception; the significance of threats; the relationship between heritage and modernity; trends and tendencies in modernity; and heritage as both local and global. The paradoxes and the associated questions will be
This chapter discusses aspects of
the interplay between the disciplines and modernity, as mediated by
temporal-spatial imperatives. It focuses on the relationship between
anthropology and history in order to discuss formations of modern
knowledge as themselves forming critical subjects and crucial procedures
of modernity. On the one hand, I explore the mutual interchange of time
Omnibus literature and popular culture in nineteenth-century Paris
of a new kind of cultural modernity, in the streets, on the page and on stage.
For an example of how popular literature deployed the omnibus as a symbol of the popular, let us return to the vaudeville play Les omnibus, ou la revue en voiture . It is worth dwelling at some length on the very first play about the omnibus (and quite possibly the first literary text about it), because it perfectly articulates the association between public transit and popular culture. The play is a hilarious romp that taps into seemingly disparate but, in fact, deeply interconnected
Engine of Modernity: The Omnibus and Urban Culture in Nineteenth-Century Paris examines the connection between public transportation and popular culture in nineteenth-century Paris through a focus on the omnibus - a horse-drawn vehicle for mass urban transport which enabled contact across lines of class and gender. A major advancement in urban locomotion, the omnibus generated innovations in social practices by compelling passengers of diverse backgrounds to interact within the vehicle’s close confines. Although the omnibus itself did not actually have an engine, its arrival on the streets of Paris and in the pages of popular literature acted as a motor for a fundamental cultural shift in how people thought about the city, its social life, and its artistic representations. At the intersection of literary criticism and cultural history, Engine of Modernity argues that for nineteenth-century French writers and artists, the omnibus was much more than a mode of transportation. It became a metaphor through which to explore evolving social dynamics of class and gender, meditate on the meaning of progress and change, and reflect on one’s own literary and artistic practices.