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The research was concerned with changes in attitudes, values and behavior associated with the modernizing influences of increased education, communication, and industrialization. A traditional style of life which has developed over many generations is being modified by urban, industrial influences. There have been changes in aspirations, family structure, and social control. Four similar communities which were located 50, 100, 200 and 400 kilometers from the capital and major city, Manila, were studied. Within each community 18 men and 18 women from each of three social levels were interviewed, yielding a total of 432 respondents. This design made it possible to determine the relative effects of distance from Manila, sex, and social class on modernity of attitudes. Exposure to modernizing influences was manipulated by selecting near and remote communities.

The paper concerns the revitalization of the post-industrial city of Bilbao. Revitalization was carried out thanks to modern architectural objects in symbiosis with interesting historical urban buildings. The turning point was the location of the building, designed by Frank Gehry, of the Guggenheim Bilbao Art Museum, and the accompanying facilities in the city center. Bilbao is located along the Nervion River. The new bridges in Bilbao are interesting because of their modernity of form. They adjoin historical bridges in a complementary way. The tourist revival brings millions of visitors to the city, but also other well-known architects who want to leave their mark here, too. One of them was Santiago Calatrawa, who built the pioneering technically and architecturally original footbridge Zubizuri Zubia. The paper also presents some interesting bridges from other cities of the Basque Country.

The paper examines a development of modernization theories, and their influence in the contemporary Ottoman study, imprecise terminology of the concepts ‘modernization’ and ‘Westernization (Europeanization)’, with special emphasis on the contemporary thesis of multiple modernity. The relationship between cultural transfer and interaction, material and spiritual, was specially observed in order to determine the relationship between the impact of modern societies on the traditional societies, through the model of imposed modernization and autonomous development, immanent to the historical experience of the society which was developed from a pre-modern to a modern society. Perceptions of alteration were analyzed, and there was an attempt to identify the symbolic signs of modernity, as Anthony Giddens pointed out, i.e. the features which were not typical for traditional societies, in order to specify the nature of the Ottoman modernity.

Much that is characteristic of contemporary anarchist thought can be found in the writings of the founder of that tradition, William Godwin. He is ambivalent on the value of technology and modernity, nostalgic at one moment and progressive another. He extols individual autonomy while preaching community solidarity. Above all he shares with modern anarchism an elitist disdain for ordinary men and women, which in the case of Godwin leads to an unresolved tension between theoretical radicalism and practical conservatism. His anarchist doctrine repudiates all forms of coercion, law, and government. It eschews cooperation of all kind as deleterious to individual development. At the same time it posits an ideal order characterized by a high degree of informal coercion practiced by zealous neighborly inspection. But Godwin was a less than eager friend of reform and agitation during the years of Pitt's repression of radical movements in England. This was clear even in the pages of Political Justice, but all the more obvious in his feud in 1795–96 with John Thelwall and the London Corresponding Society, the leading radical activists. This paper outlines Godwin's anarchism and points out the implications of his dispute with Thelwall. In addition it shows the extent to which Godwin has given anarchism certain of its enduring qualities.

The major hypothesis explored by this paper is that managers of large enterprises—public or private, in any context —have an increasingly urgent socio-humanistic responsibility to create self-actua...

espanolEl proposito fundamental de este articulo es mostrar la intempestividad del joven Nietzsche como una critica cultural y politica a la Modernidad a partir del analisis e interpretacion de dos textos fundamentales de este periodo en lo que respecta a la mencionada critica: Consideraciones intempestivas III: Schopenhauer educador y El Estado griego EnglishThis papers aims to show young Nietzsche´s intempestivity as a cultural and political criticism of Modernity. For this purpose, we will analyze and interpret two main works connected with the already mentioned criticism: Untimely meditations III: Schopenhauer as an educator and The Greek State

The counterculture is a provocative concept as far as it means a rejection of culture while being itself a part of culture and as far as it talks the young generation into a rebellion but requiring a mature project of society. It is also provocative in that it rejects modernization and at the same time promotes a moral universalizm which is a hallmark of modernity. The author of the paper attempts to find the constitutive ideas of the counterculture and to compare them with other ideologies, their advantages and drawbacks. Moreover, it indicates the significance of counterculture for a proper understanding of social movements. The theme which proves to be the central one in the counterculture is the tension between an artistic and philosophical interpretation of subject.

Artículo sometido a evaluación externa (sistema de referato) El siguiente trabajo aborda el estudio de una obra particularmente singular producida en 1930 por el pintor rosarino Augusto Schiavoni (1893-1942). A través del análisis de Con los pintores amigos podemos leer un conjunto de tradiciones del arte occidental que el autor visita, resignifica e interpreta. Nos referimos al género del retrato de grupo, al que pertenecen un selecto conjunto de pinturas que hemos denominado "cuadros acertijo", y al autorretrato presente en los cuadros-manifiesto. Interpretamos que el artista puso en juego allí, al menos, una doble operación. Por un lado, la representación del "lugar" deseado para sí junto a sus pares y amigos ya consagrados en el campo artístico local y nacional. Y por otro, la realización de un resumen de sus años de pintor, donde compiló los géneros cultivados por él y donde se autorretrató de pie, con pincel en mano, junto a sus interlocutores y amigos. This paper deals with a particularly remarkable work produced in 1930 by the painter Augusto Schiavoni, who was born in Rosario (1893-1942). Through the analysis of Con los pintores amigo we can discover some traditional elements from western art that the author examines, restates and interprets. We refer to the group portrait genre, where we can include a select collection of paintings that we called "riddle paintings"; and the self portrait used in the manifesto-paintings. We understand that here the artist acted in a twofold fashion. On the one hand, he showed which place he wished to occupy next to his peers and friends already famous in the local and national artistic field. On the other hand, he summed up his career compiling the genres he had cultivated and portraying himself standing, with a brush in his hand, next to his interlocutors and friends.

This paper discusses the expanded field of printmaking, through its continuities, ruptures, junctions and contamination while also approaching their intersections and counterpoints with writing and image in the context of contemporary art. By discussing the relationship between artistic and commercial printmaking, it focuses the newspaper as a metaphor of modernity and contamination of the art through commercial language. Keywords : printmaking; writing; image; contemporary art

This paper employs data from a lower-class Guatemala sample in a new test of modernity as an empirically identifiable syndrome. Factor analysis shows definite dimensionality of modernity as well as a meaningful set of subdimensions. Hypotheses linking education, urban residence, and other socialization indicators with emergence of modernity are supported. Previous writings have defined modernity as positively linked with economic development. Assumptions underlying this hypothesis are examined. Modernity as a consequence of Western structural transformations may have little to di with, or be in fact detrimental to, causes of development in Third World ations. Interrelationships between empirical findings and critical analysis of these assumptions are discussed.

As Indonesia strives to overcome its position as a periphery nation, its populations are faced with increasing challenges to traditional identity and morality. With economic development comes a great exposure to global consumer culture. This paper examines how traditionalist Muslims in Java, Indonesia, are facing the perceived impact of globalization through educational efforts and the re-invention of tradition. A key institution in this process is the Islamic boarding school called pesantren. Pesantren curriculum has become a focal point in the strategy of the traditionalist community to encounter globalization. By shaping curriculum, pesantren leaders are trying to mold future generations of Indonesian leaders and citizens. The goal is to create a society that is fully modern, fully globalized, fully Indonesian, and fully Islamic, one student at a time. In this process, both modernity and tradition are re-invented in such a way that one cannot exist without the other.

In this paper, I investigate the issue of English mixing in Nepali television commercials. More specifically, based on qualitative data taken from a total of four hours of Nepali TV commercials broadcasted on the major Nepali television stations - Avenues Television and Kantipur Television from 7am to 9am and 7pm to 9pm since 1 July to 1 October 2009, I examine the motivations for English mixing in Nepali TV commercials. For the analysis, primarily I categorize them into two major types, Nepali-only (NO) and English mixed (EM). NO includes commercials aired in Nepali only and EM includes advertisements aired in Nepali in juxtaposition with English. After it, I study the differences between EM and NO as the dichotomous treatment of NO and EM is critical in examining the purpose of English-mixing. The findings suggest that English-mixing in Nepalese TV commercials is a carefully constructed exemplar of the marketing of modernity. DOI: 10.3126/bodhi.v3i1.2812 Bodhi Vol.3(1) 2009 p.53-60

The historical context of modernity weaves new dimensions of the constitution of men and society. The moment brings in its essence the emblematic mark of the rising of the subject, which tends to stimulate the possibility of emancipation and elucidation. However, as the illuminist promise of autonomy cannot be accomplished, the awareness movement results in alienation of human consciousness, which leads to a receding subjectivity and consequently, a fragile one. An individual based on self-reasoning that tends to thoughtlessness and automatism, to a state of res, of thing, ends up being consolidated. This paper aims to provide a preliminary analysis of the elements that make possible this kind of subjectivity.

Pascal Quignard, volontiers considéré comme le modèle contemporain du lettré classique, récuse certains des principaux traits de l’esthétique moderne et se réclame, dans la conception de l’art littéraire qu’il développe, de l’Antiquité et de la rhétorique classique. Toutefois, à étudier sa réflexion de plus près, il devient manifeste que sa spéculation littéraire entre fortement en résonance avec la pensée moderne de l’art, et particulièrement avec celle de ses premiers théoriciens, soit les esthéticiens du Cercle d’Iéna. Cet article analyse la pensée esthétique de Quignard à la lumière de cette théorie spéculative qui fonde l’âge moderne, afin d’élucider le rapport complexe qu’entretient l’auteur avec la modernité et de parvenir ainsi à mieux cerner sa pensée.AbstractPascal Quignard, generally considered to be today’s incarnation of the classical man of letters, rejects certain fundamental principles of modern aesthetic thinking while developing a theory of literary art that claims to have its roots in Antiquity and classical rhetoric. However, a closer study of Quignard’s ideas reveals striking parallels between his speculative poetics and modern aesthetic theory, particularly with that developed by modern art’s first theorists, i.e. the members of the Jena Circle. This paper examines Quignard’s theory in light of its similarities with early German Romantic thought, in order to comprehend the author’s complex relationship with Modernity, and thus, to gain better insight into his aesthetic principles.

The paper aims to comprehend the musical reconfiguration of cyberculture articulated to aspects of a cultural history of sound technologies in the modernity, in order to avoid a deterministic and linear aproach to this problem. In the first section, the analyses focus on the productioncirculation-consumption circuit of the massive music, organized in three axis: 1) electro-magnetics and recording technologies 2) musicals instruments 3) auditions and storage artefacts. In the second section, the analyses is on samples of cyberculture musical practices, when we enphazise the need to consider the new modes of mediations Este artículo se propone comprender las reconfiguraciones musicales de la cibercultura, dentro de una historia cultural de las tecnologías vinculadas a la reproductibilidad sonora en la modernidad, con el fin de evitar una aproximación determinista y lineal del problema. En la primera parte, el texto aborda el circuito de producción-circulación-consumo de música masiva a partir de tres ejes: 1) las tecnologías electromagnéticas y de grabación; 2) las tecnologías aplicadas al desarrollo de instrumentos musicales; 3) los artefactos de audición y de almacenamiento de música. En la segunda parte del texto se presentan algunas cuestiones sobre el escenario actual, y se proponen abordajes del fenómeno musical en la cibercultura considerando las apropiaciones culturales y las mediaciones de nuevo orden. O trabalho tem por objetivo compreender as reconfigurações musicais da cibercultura dentro de uma história cultural das tecnologias ligadas à reprodutibilidade sonora na modernidade, a fim de evitar uma aproximação determinística e linear do problema. Na primeira parte, o texto aborda o circuito de produção-circulação-consumo de música massiva a partir de três eixos: 1) das tecnologias eletro-magnéticas e de gravação; 2) das tecnologias aplicadas ao desenvolvimento de instrumentos musicais; 3) dos artefatos de audição e armazenamento da música. A seguir, na segunda parte, são encaminhadas algumas questões sobre o cenário presente, propondo-se abordagens do fenômeno musical na cibercultura que levem em conta as apropriações culturais e as mediações de nova ordem.

During the 19. Century both the scientific congresses and the industrial exhibitions contributed to the collective consciousness-raising of the changes due to the technical-scientific progress and the diffusion of the industrialization and modernization in wider terms. This paper analyzes the connection, both before than after 1861, between these aspects of modernity and the Risorgimento movement, and highlights how, together with the unity and political indipendence of the country, the men of Risorgimento pursued the integration of Italy in the “modern civilization” and its active participation to the big “progresses of the century”.

Attitudinal modernity may be defined as a set of attitudes, beliefs, behavior, etc. especially characterizing persons in highly urbanized, highly industrialized, and highly educated social settings. Over 150 interview items attempting to measure modernity so defined were administered as part of a four hour interview to 5,500 men from 6 different developing countries-Argentina, Chile, India, Pakistan, Israel and Nigeria. Using a subset of 119 strictly attitudinal items, the present paper attempts to derive a simple, comparative, overall measure of the modernity of individuals. The resulting measure was called "OM," standing for "Overall Modernity." Two major types of OM measures were derived, one using item analysis methods and one using criterion group methods. The final short OM scale suggested consists of items meeting both selection procedures simultaneously.

This is a revised excerpt from a paper entitled "City and Women in the fiction of Tayeb Salih». forthcoming in the«Sudanese Publication Series». Washington. D.C. Tayeb Salih is recognized as one of the best modem Arab writers.

It is significant of the modernity of the law of automobiles that one must for a brief title to this paper resort to a neologism. To park, literally speaking, is to bring together in a compact body, within a park or enclosure, objects not in actual service but held for use when required.1 The parking of artillery is a familiar illustration, and in a similar manner motor vehicles are collected in "parking places" wherever crowds congregate.2 In this sense, as one judge observes, "one automobile can no miore park than one bird can flock. The idea of assembling inheres in the term."3 But as the word has come to be used in connection with t-he regulation of traffic and the prevention of excessive congestion on the highways, it has taken a broader signification. At least figuratively, the stopping of the first car for an unreasonable time is the beginning of parking, although the policeman who tags your car would not be interested in such nice distinctions, even in the absence of a definition in the motor vehicle law. To him as to others, parking, in addition to its original meaning, includes the voluntary act of leaving a car standing on the highway when not in use.4

Modernity has taught us, with some reason, to laugh at pastorals. Nevertheless there is deep humanity in those artificial songs of shepherds and shepherdesses. With the frigid pipings of Thyrsis and Corydon we are indeed out of tune. Since, however, the pastoral fascinated Theocritus, Virgil, Petrarcli, Boccaccio, and Spenser, who wrote for all time, we ought to approach the outworn form in a spirit of serious sympathy. Even proud idealists sometimes waver. Poetry must furnish, at times, an escape from life-not always the clarion call to life's struggles. Men took the pastoral in order to flee for a moment into Arcadia, to clothe in pleasant vagueness confessions of the delightful miseries of calf-love, though strife stole too often even into Arcadia and goaded the shepherds into worldly bickerings. We have the same aspirations to-day as those poets when they wrote their pastorals,-moods that are not mere toys; but because hope is edged with doubt, we trifle with our dreams in ways no less artificial than the pleasant game of pastoralmaking. We have not outgrown the pastoralist's moods. It is the purpose of this paper to examine the influence of Spenser's Shepheards Calender on the English pastoral during its period of greatest activity, from 1579 to the close of the seventeenth century. The story of Spenser's attempt to make the formal eclogue native in England and of the interesting but vain attempts of his imitators to give it a permanent place among the cherished forms of English poetry has never been carefully told. It is not worth while to ruminate long over the well-considered antecedents of The Shepheards Calender. In 1579 241

C;ONCEPTS such as consensus, social attitudes, political culture, and belief systems appear with increasing frequency in our literature. Since McClosky's seminal piece on party leaders and followers,' many have focused on the differences in beliefs between the small group of political activists and the much larger and often apolitical public. This paper focuses on one important hypothesis as to how leaders and the public differ in their beliefs. Although the leader-follower distinction might at first glance be taken as an indication that society is divided into two groups, a better perspective is of a continuum of differing involvement, knowledge, and concern with political affairs, with leaders and followers representing the poles. With governments that emphasize leadership's responsibility, with the movement toward modernity in developing countries impelled primarily by Western-trained leaders, and for many other reasons, differences among leaders and their publics are important to us. Philip Converse hypothesizes significant differences between the belief systems of persons of varying degrees of education and political involvement.2 They differ, he argues, in the degree of constraint between the various elements in their belief systems. While the concept of constraint is operationally simple, derived from the statistical

Among others, Menendez y Pelayo has indicated that Sanches Calavera represents one of the most rebellious spirits in medieval Spanish poetry.' If we were to choose a word which best characterizes the important intellectual tone of much of the work of Ferrant Sanches Calavera as it appears in Cancionero de Baena, the word "(por qua?" would no doubt be most suitable. For the very discernible modernity of this poet of "angustia" consists mainly in his confronting traditional religious dogma with reason. Generally, it might be said of the work of Sanches Calavera that it represents, in Unamunesque terms, the perennial conflict between pistis and logos. And one can easily imagine the Twentieth Century Basque saying of the Fifteenth Century Ferrant "queman sus entrafias porque quiere saber." The purpose of this paper is to explore the modernity of a modem who lived five hundred years ago. The quotations used in this essay are all from the P. J. Pidal edition of the Cancionero de Baena, Madrid, 1851. The number following a passage is the page on which it is found. We retain the exact

"Great themes run through this book: local differentiation and societal integration, reform and revolution, innovation and renewal, conservatism and radicalism, tradition and modernity. All relate to the fascinating dialectic of Chinese history." This comment by G. William Skinner aptly describes this pioneering volume in which twelve specialists in Chinese history discuss the great questions of history in the dramatic context of the "New China" of the early twentieth century. The work of young scholars from seven countries who have had access to Chinese, British, and French archives opened only in recent years, the book provides new findings that presage not only a reinterpretation of the Revolution of 1911 itself but also of the dynamic links between Imperial China and both the communist revolution of 1927-49 and the Great Proletarian Cultural Revolution of today. "An outstanding example of historians' inquiries is this collection of essays by 12 authorities, brilliantly edited by Mary Wright of Yale. Brilliant because unlike most such cooperative endeavors, the studies in this volume focus on a single major topic, China in the years around the revolution of 1911. The papers vary in scope, from a general interpretation of the origins of the warlord armies, which were to dominate Chinese political life until the mid-twenties, to a fascinating reconstruction of events hour-by-hour during the first week of the revolution in the city where it began, Wuchang...This important work is bound to have a great impact on our understanding of modern China, and will surely stimulate further research in the period."-New York Times Book Review "Will set a style for ten to twenty years hence by all scholars of the subject."-John K. Fairbank.