Altered Earth aims to get the Anthropocene right in three senses. With essays by leading scientists, it highlights the growing consensus that our planet entered a dangerous new state in the mid-twentieth century. Second, it gets the Anthropocene right in human terms, bringing together a range of leading authors to explore, in fiction and non-fiction, our deep past, global conquest, inequality, nuclear disasters, and space travel. Finally, this landmark collection presents what hope might look like in this seemingly hopeless situation, proposing new political forms and mutualistic cities. 'Right' in this book means being as accurate as possible in describing the physical phenomenon of the Anthropocene; as balanced as possible in weighing the complex human developments, some willed and some unintended, that led to this predicament; and as just as possible in envisioning potential futures.

Altered Earth aims to get the Anthropocene right in three senses. With essays by leading scientists, it highlights the growing consensus that our planet entered a dangerous new state in the mid-twentieth century. Second, it gets the Anthropocene right in human terms, bringing together a range of leading authors to explore, in fiction and non-fiction, our deep past, global conquest, inequality, nuclear disasters, and space travel. Finally, this landmark collection presents what hope might look like in this seemingly hopeless situation, proposing new political forms and mutualistic cities. 'Right' in this book means being as accurate as possible in describing the physical phenomenon of the Anthropocene; as balanced as possible in weighing the complex human developments, some willed and some unintended, that led to this predicament; and as just as possible in envisioning potential futures.

Visualizing Fascism argues that fascism was not merely a domestic menace in a few European nations, but arose as a genuinely global phenomenon in the early twentieth century. Contributors use visual materials to explore fascism's populist appeal in settings around the world, including China, Japan, South Africa, Slovakia, and Spain. This visual strategy allows readers to see the transnational rise of the right as it fed off the agitated energies of modernity and mobilized shared political and aesthetic tropes. This volume also considers the postwar aftermath as antifascist art forms were depoliticized and repurposed in the West. More commonly, analyses of fascism focus on Italy and Germany alone and on institutions like fascist parties, but that approach truncates our understanding of the way fascism was indebted to colonialism and internationalism with all their attendant grievances and aspirations. Using photography, graphic arts, architecture, monuments, and film-rather than written documents alone-produces a portable concept of fascism, useful for grappling with the upsurge of the global right a century ago-and today. Contributors. Nadya Bair, Paul D. Barclay, Ruth Ben-Ghiat, Maggie Clinton, Geoff Eley, Lutz Koepnick, Ethan Mark, Bertrand Metton, Lorena Rizzo, Julia Adeney Thomas, Claire Zimmerman

This volume brings new depth to the analysis of historical distance by looking at its importance in fields that extend far beyond the usual bounds of history, including psychoanalysis and the visual and performing arts. Its sources include 19th century British sculpture, musical theatre, and late 18th and 19th century fashion plates. The book offers general introductory discussions of how historical distance might best be understood in contemporary historiography, of changing ideals of distance and proximity as they have taken shape in Western thought from the Renaissance to modernity and of historical judgments and their meanings. It includes a range of essays that explore the importance of distance in relation to a number of different problems and periods, including how the use of historical distance as a framework might offer new ways of distinguishing literary fictions from histories, or a new understanding of the changing pattern of biography over the past two centuries. The range of forms and media covered by the essays in this collection greatly expands not only ways of thinking about historical distance, but the nature and meaning of history. By incorporating this wide range of different material and an equally wide range of approaches, the volume gives the discussion of historical distance a new breadth, flexibility and importance.

The idea of distance is one of the defining principles of modern historical method. This volume gives the discussion of historical distance new breadth, flexibility and importance by incorporating diverse modes of representation including photography, sculpture, painting, musical theatre, and fashion.

Visualizing Fascism argues that fascism was not merely a domestic menace in a few European nations, but arose as a genuinely global phenomenon in the early twentieth century. Contributors use visual materials to explore fascism's populist appeal in settings around the world, including China, Japan, South Africa, Slovakia, and Spain. This visual strategy allows readers to see the transnational rise of the right as it fed off the agitated energies of modernity and mobilized shared political and aesthetic tropes. This volume also considers the postwar aftermath as antifascist art forms were depoliticized and repurposed in the West. More commonly, analyses of fascism focus on Italy and Germany alone and on institutions like fascist parties, but that approach truncates our understanding of the way fascism was indebted to colonialism and internationalism with all their attendant grievances and aspirations. Using photography, graphic arts, architecture, monuments, and film-rather than written documents alone-produces a portable concept of fascism, useful for grappling with the upsurge of the global right a century ago-and today. Contributors. Nadya Bair, Paul D. Barclay, Ruth Ben-Ghiat, Maggie Clinton, Geoff Eley, Lutz Koepnick, Ethan Mark, Bertrand Metton, Lorena Rizzo, Julia Adeney Thomas, Claire Zimmerman

Japan at Nature's Edge is a timely collection of essays that explores the relationship between Japan's history, culture, and physical environment. It greatly expands the focus of previous work on Japanese modernization by examining Japan's role in global environmental transformation and how Japanese ideas have shaped bodies and landscapes over the centuries. The immediacy of Earth's environmental crisis, a predicament highlighted by Japan's March 2011 disaster, brings a sense of urgency to the study of Japan and its global connections. The work is an environmental history in the broadest sense of the term because it contains writing by environmental anthropologists, a legendary Japanese economist, and scholars of Japanese literature and culture. The editors have brought together an unparalleled assemblage of some of the finest scholars in the field who, rather than treat it in isolation or as a unique cultural community, seek to connect Japan to global environmental currents such as whaling, world fisheries, mountaineering and science, mining and industrial pollution, and relations with nonhuman animals. The contributors assert the importance of the environment in understanding Japan's history and propose a new balance between nature and culture, one weighted much more heavily on the side of natural legacies. This approach does not discount culture. Instead, it suggests that the Japanese experience of nature, like that of all human beings, is a complex and intimate negotiation between the physical and cultural worlds. Contributors: Daniel P. Aldrich, Jakobina Arch, Andrew Bernstein, Philip C. Brown, Timothy S. George, Jeffrey E. Hanes, David L. Howell, Federico Marcon, Christine L. Marran, Ian Jared Miller, Micah Muscolino, Ken'ichi Miyamoto, Sara B. Pritchard, Julia Adeney Thomas, Karen Thornber, William M. Tsutsui, Brett L. Walker, Takehiro Watanabe.

""Reconfiguring Nature is a stimulating, original, and timely contribution to contemporary attempts to give modern political thought a global and hybrid genealogy. Thomas's analysis of Japanese ideas of 'nature' helps to raise some fundamental questions about assumptions made in Euro-American political philosophy. Comparativist and specialized at the same time, this book is extremely sensitive to the complex processes through which ideas cross boundaries in time and space."--Dipesh Chakrabarty, author of "Provincializing Europe: Postcolonial Thought and Historical Difference

""Reconfiguring Modernity treats the linked transformations in conceptions of nature, the body, and society in Japan from the mid-nineteenth century through the 1930s: from a static and hierarchical unity of cosmos and society, to a competitive and evolutionary "naturalized" society, and then again to a 'family state' and projected unitary culture as the harmonious counterpart, of a benevolent natural world. To this compellingly interesting theme, Julia Thomas brings an impressive range of reading and considerable literary skill. Her argument is frequently original and always discerning. In highlighting the impact and permutations of evolutionary thinking, it is especially important contribution to Meiji intellectual history, which has not been given sustained attention for quite some time in English-language scholarship."--Andrew Barshay, author of "State and Intellectual in Imperial Japan

Japan at Nature’s Edge is a timely collection of essays that explores the relationship between Japan’s history, culture, and physical environment. It greatly expands the focus of previous work on Japanese modernization by examining Japan’s role in global environmental transformation and how Japanese ideas have shaped bodies and landscapes over the centuries. The immediacy of Earth’s environmental crisis, a predicament highlighted by Japan’s March 2011 disaster, brings a sense of urgency to the study of Japan and its global connections. The work is an environmental history in the broadest sense of the term because it contains writing by environmental anthropologists, a legendary Japanese economist, and scholars of Japanese literature and culture. The editors have brought together an unparalleled assemblage of some of the finest scholars in the field who, rather than treat it in isolation or as a unique cultural community, seek to connect Japan to global environmental currents such as whaling, world fisheries, mountaineering and science, mining and industrial pollution, and relations with nonhuman animals. The contributors assert the importance of the environment in understanding Japan’s history and propose a new balance between nature and culture, one weighted much more heavily on the side of natural legacies. This approach does not discount culture. Instead, it suggests that the Japanese experience of nature, like that of all human beings, is a complex and intimate negotiation between the physical and cultural worlds.