具體描述
Acclaimed historian Harry Harootunian calls attention to the boundaries, real and theoretical, that compartmentalize the world around us. In one of the first works to explore on equal footing European and Japanese conceptions of modernity -- as imagined in the writings of Georg Simmel and Walter Benjamin, as well as ethnologist Yanagita Kunio and Marxist philosopher Tosaka Jun -- Harootunian seeks to expose the problematic nature of scholarly categories. In doing so, History's Disquiet presents intellectual genealogies of such orthodox notions as "field" and "modernity" and other concepts intellectuals in the East and West have used to understand the changing world around them. Contrasting reflections on everyday life in Japan and Europe, Harootunian shows how responses to capitalist society were expressed in similar ways: social critics in both regions alleged a broad sense of alienation, particularly among the middle class. However, he also points out that Japanese critics viewed modernity as a condition in which Japan -- without the lengthy period of capitalist modernization that characterized Europe and America -- was either "catching up" with those regions or "copying" them. As elegantly written as it is controversial, this book is both an invitation for rethinking intellectual boundaries and an invigorating affirmation that such boundaries can indeed be broken down.
作者簡介
目錄資訊
The Unavoidable “Actuality” of Everyday Life
1. tracking the dinosaur
Area Studies in a Time of “Globalism”
2. the “mystery of the everyday”
Everydayness in History
3. “dialectical optics”
History in Everydayness
notes
index
· · · · · · (收起)
讀後感
對”modernity“的興趣是因為看瞭李歐梵的《蒼涼與世故》，他論述瞭張愛玲作品中的日常生活和錶達的”時代感（見第一部分第一章“張愛玲筆下的日常生活和‘現時感’“），並將這種”現時感“作為張愛玲小說的靈魂之所在，正因如此，在李歐梵看來，一九四九年後張愛玲的作品，失...
評分對”modernity“的興趣是因為看瞭李歐梵的《蒼涼與世故》，他論述瞭張愛玲作品中的日常生活和錶達的”時代感（見第一部分第一章“張愛玲筆下的日常生活和‘現時感’“），並將這種”現時感“作為張愛玲小說的靈魂之所在，正因如此，在李歐梵看來，一九四九年後張愛玲的作品，失...
評分對”modernity“的興趣是因為看瞭李歐梵的《蒼涼與世故》，他論述瞭張愛玲作品中的日常生活和錶達的”時代感（見第一部分第一章“張愛玲筆下的日常生活和‘現時感’“），並將這種”現時感“作為張愛玲小說的靈魂之所在，正因如此，在李歐梵看來，一九四九年後張愛玲的作品，失...
評分對”modernity“的興趣是因為看瞭李歐梵的《蒼涼與世故》，他論述瞭張愛玲作品中的日常生活和錶達的”時代感（見第一部分第一章“張愛玲筆下的日常生活和‘現時感’“），並將這種”現時感“作為張愛玲小說的靈魂之所在，正因如此，在李歐梵看來，一九四九年後張愛玲的作品，失...
評分對”modernity“的興趣是因為看瞭李歐梵的《蒼涼與世故》，他論述瞭張愛玲作品中的日常生活和錶達的”時代感（見第一部分第一章“張愛玲筆下的日常生活和‘現時感’“），並將這種”現時感“作為張愛玲小說的靈魂之所在，正因如此，在李歐梵看來，一九四九年後張愛玲的作品，失...
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