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This book describes a major literary culture caught in the act of becoming minor. In 1939, Virginia Woolf wrote in her diary, \"Civilisation has shrunk.\" Her words captured not only the onset of World War II, but also a longer-term reversal of national fortune. The first comprehensive account of modernism and imperialism in England,A Shrinking Islandtracks the joint eclipse of modernist aesthetics and British power from the literary experiments of the 1930s through the rise of cultural studies in the 1950s. Jed Esty explores the effects of declining empire on modernist form--and on the very meaning of Englishness. He ranges from canonical figures (T. S. Eliot and Virginia Woolf) to influential midcentury intellectuals (J. M. Keynes and J.R.R. Tolkien), from cultural studies pioneers (Raymond Williams and E. P. Thompson) to postwar migrant writers (George Lamming and Doris Lessing). Focusing on writing that converts the potential energy of the contracting British state into the language of insular integrity, he argues that an anthropological ethos of cultural holism came home to roost in late-imperial England. Esty's interpretation challenges popular myths about the death of English literature. It portrays the survivors of the modernist generation not as aesthetic dinosaurs, but as participants in the transition from empire to welfare state, from metropolitan art to national culture. Mixing literary criticism with postcolonial theory, his account of London modernism's end-stages and after-lives provides a fresh take on major works while redrawing the lines between modernism and postmodernism.

Taking Harbin morning market as a case study, this study explores sustainable production schemes for generating sense of place in urban spaces amid the trend of modernization. Employing grounded theory, it develops an analytical model consisting of three components: space, humans, and materials. The findings reveal that place identity emerges from functional redundancy and self-organizing spatial layouts, where the hybrid logic of spatial design, the non-programmed interactions of human actors, and the material networks together enable tourists to transform from spectators into embodied participants. Theoretically, this study proposes a hybrid logic and challenges high modernism. It emphasizes that fully mobilizing the spontaneous vitality of every actor in the space is more effective than unilaterally improving rules and functions, offering a sustainable path for nurturing localized cultural ecosystems against homogenization.

Abstrakt: Celem artykułu jest zaprezentowanie futuryzmu jako ideologii kryjącej się w dyskursie porad żywieniowych publikowanych na łamach polskiej prasy kobiecej w latach siedemdziesiątych dwudziestego wieku. Futuryzm jest jedną z cech ideologii tzw. wysokiego modernizmu, a jego najbardziej charakterystyczne przejawy to: umiłowanie przyszłości wraz ze snuciem utopijnych wizji o jej kształcie, chęć podboju technologicznego świata natury, a także historycyzm - wiara w liniowy rozwój ludzkości, który zmierza do „nowoczesności\". Badanie empiryczne polegało na odnalezieniu cech futuryzmu w tekstach porad żywieniowych z dwóch najpopularniejszych polskich czasopism lat siedemdziesiątych: „Przyjaciółki\" oraz „Kobiety i Życia\". Wybraną metodą była zorientowana socjologicznie analiza dyskursu. Analiza zgromadzonego materiału pozwala twierdzić, że futuryzm był istotnym czynnikiem ideologicznym kształtującym porady żywieniowe publikowane na łamach prasy w PRL w tym okresie. Obserwacja ta rzuca nowe światło na kulturę kulinarną PRL i otwiera nowe możliwości interpretacyjne.

The article aims to broaden the understanding of Soviet politics as a form of colonialism and to deploy the same conceptual tools used in post-colonial critiques that have been typically reserved for critiquing European control of 'distant' lands, both in temporal and spatial dimensions. Closely examining Soviet politics in Mongolia, the article conceptualises the Soviet policies across the vast Soviet-sphere with the post-colonial theoretical framework. Conceptually, the article juxtaposes the post-colonial treatment of the Soviet politics with high modernism. Under Soviet direction and control, Mongolia was profoundly transformed over seven decades from an impoverished pastoral society at the beginning of the twentieth century to a highly ordered and structured society. This social, spatial, administrative transformation was more vivid and radical than in many former Soviet-sphere countries, especially those countries that had long been settled and urbanised.

PurposeThis study defines and critically analyzes Korean high modernism using the Sewoon Sangga project as a case study, as it has significant value in Korea's urban and architectural history.Design/methodology/approachThe methodology applied for this study was a theory-interpretive analysis. This study examines the modernization process of Seoul based on the concept of “high modernism,” in that the theory-interpretive analysis method analyzes historical phenomena centered on a specific concept.FindingsAs a form of national belief, the various ideas that give birth to modern cities are defined as “high modernism.” As a Korean megastructure, the Sewoon Sangga project is significant in the history of Korean urbanism and architecture because it is the archetype of Korean high modernism and is representative of South Korea's compressed economic growth. However, soon-to-be-demolished Sewoon Sangga signifies the failure of Korean high modernism. This study identified the critical characteristics of Korean high modernism through the Sewoon Sangga project.Originality/valueThis study analyzed a representative Asian city through the specific concept of high modernism. It transpired that high modernism, which played an important role in the birth and development of modern cities, should be transformed for future cities and architectural development. This study has significance in that it expands the study of the history of urbanism and architecture centered on the West to the same in Asia.

Combining original historical research with literary analysis, Adam Barrows takes a provocative look at the creation of world standard time in 1884 and rethinks the significance of this remarkable moment in modernism for both the processes of imperialism and for modern literature. As representatives from twenty-four nations argued over adopting the Prime Meridian, and thereby measuring time in relation to Greenwich, England, writers began experimenting with new ways of representing human temporality. Barrows finds this experimentation in works as varied as Victorian adventure novels, high modernist texts, and South Asian novels—including the work of James Joyce, Virginia Woolf, H. Rider Haggard, Bram Stoker, Rudyard Kipling, and Joseph Conrad. Demonstrating the investment of modernist writing in the problems of geopolitics and in the public discourse of time, Barrows argues that it is possible, and productive, to rethink the politics of modernism through the politics of time.

During the early 1950s the Federative Peoples Republic of Yugoslavia underwent a series of radical politico-economic reforms that created the system of socialist self-management. Although scholars have long acknowledged that these reforms liberalized the field of cultural production, the precise ways in which self-management shaped Yugoslav culture during this period remains under-examined. Drawing from Daniel Immerwahr's concept of “thinking small,” this paper contends that self-management be thought of as an effort to rescale the horizons of socialist modernity. As Yugoslav reformers diverged from the Soviet model of Stalinist high modernism, they descaled state power to local sites of administration. This turn towards “small socialism” was recorded in certain conceptual and methodological trends in the cultural production of this period. This paper explores this recalibration of the scales of socialist culture in three examples from the 1950s: the urban theory of Bogdan Bogdanović, the revival of dialect poetry in Croatia, and the proliferation of domestic travelogues that emphasized the diversity of local cultures. As these examples demonstrate, the ambivalence that many Yugoslav intellectuals felt with regards to the high modernist scales of Stalinism prompted them to redirect the focus of socialist culture towards the marginal, the minor, or the minute.

The New Yorker, founded in 1925, was well-positioned to influence the reception of Anglo-American literary modernism. Although the magazine frequently paid attention to modernism, it did not make a special point of championing or publishing modernist writers. An illuminating exception in this regard was the experimental modernist writer Robert Myron Coates (1897–1973), who had a life-long association with the New Yorker, while also crafting a career in distinctly experimental writing. Coates's work and career is emblematic of the interconnectedness between advanced modernism, its middlebrow manifestations, and American popular culture.

Though often defined as having opposite aims, means, and effects, modernism and modern propaganda developed at the same time and influenced each other in surprising ways. The professional propagandist emerged as one kind of information specialist, the modernist writer as another. Britain was particularly important to this double history. By secretly hiring well-known writers and intellectuals to write for the government and by exploiting their control of new global information systems, the British in World War I invented a new template for the manipulation of information that remains with us to this day. Making a persuasive case for the importance of understanding modernism in the context of the history of modern propaganda, Modernism, Media, and Propaganda also helps explain the origins of today's highly propagandized world. Modernism, Media, and Propaganda integrates new archival research with fresh interpretations of British fiction and film to provide a comprehensive cultural history of the relationship between modernism and propaganda in Britain during the first half of the twentieth century. From works by Joseph Conrad to propaganda films by Alfred Hitchcock and Orson Welles, Mark Wollaeger traces the transition from literary to cinematic propaganda while offering compelling close readings of major fiction by Virginia Woolf, Ford Madox Ford, and James Joyce.

America has a long tradition of middle-class radicalism, albeit one that intellectual orthodoxy has tended to obscure.The Radical Middle Classseeks to uncover the democratic, populist, and even anticapitalist legacy of the middle class. By examining in particular the independent small business sector or petite bourgeoisie, using Progressive Era Portland, Oregon, as a case study, Robert Johnston shows that class still matters in America. But it matters only if the politics and culture of the leading player in affairs of class, the middle class, is dramatically reconceived. This book is a powerful combination of intellectual, business, labor, medical, and, above all, political history. Its author also humanizes the middle class by describing the lives of four small business owners: Harry Lane, Will Daly, William U'Ren, and Lora Little. Lane was Portland's reform mayor before becoming one of only six senators to vote against U.S. entry into World War I. Daly was Oregon's most prominent labor leader and a onetime Socialist. U'Ren was the national architect of the direct democracy movement. Little was a leading antivaccinationist. The Radical Middle Classfurther explores the Portland Ku Klux Klan and concludes with a national overview of the American middle class from the Progressive Era to the present. With its engaging narrative, conceptual richness, and daring argumentation, it will be welcomed by all who understand that reexamining the middle class can yield not only better scholarship but firmer grounds for democratic hope.