Anthropologist Daphne Berdahl was one of the leading scholars of the transition from state socialism to capitalism in central and eastern Europe. From her pathbreaking ethnography of a former East German border village in the aftermath of German reunification, to her insightful analyses of consumption, nostalgia, and citizenship in the early 21st century, Berdahl's writings probe the contradictions, paradoxes, and ambiguities of postsocialism as few observers have done. This volume brings together her essays, from an early study of memory at the Vietnam War memorial in Washington, D.C., to research on consumption and citizenship undertaken in Leipzig in the years before her untimely death. It serves as a superb introduction to the development of the field of postsocialist cultural studies.

Time and the Other is a classic work that critically reexamined the relationship between anthropologists and their subjects and reoriented the approach literary critics, philosophers, and historians took to the study of humankind. Johannes Fabian challenges the assumption that anthropologists live in the "here and now," that their subjects live in the "there and then," and that the "other" exists in a time not contemporary with our own. He also pinpoints the emergence, transformation, and differentiation of a variety of uses of time in the history of anthropology that set specific parameters between power and inequality. In this edition, a new postscript by the author revisits popular conceptions of the "other" and the attempt to produce and represent knowledge of other(s).

In 2008, anthropologist Matti Bunzl was given rare access to observe the curatorial department of Chicago's Museum of Contemporary Art. For five months, he sat with the institution's staff, witnessing firsthand what truly goes on behind the scenes at a contemporary art museum. From fund-raising and owner loans to museum-artist relations to the immense effort involved in safely shipping sixty works from twenty-seven lenders in fourteen cities and five countries, Matti Bunzl's In Search of a Lost Avant-Garde illustrates the inner workings of one of Chicago's premier cultural institutions. Bunzl's ethnography is designed to show how a commitment to the avant-garde can come into conflict with an imperative for growth, leading to the abandonment of the new and difficult in favor of the entertaining and profitable. Jeff Koons, whose massive retrospective debuted during Bunzl's research, occupies a central place in his book and exposes the anxieties caused by such seemingly pornographic work as the infamous Made in Heaven series. Featuring cameos by other leading artists, including Liam Gillick, Jenny Holzer, Karen Kilimnik, and Tino Sehgal, the drama Bunzl narrates is palpable and entertaining and sheds an altogether new light on the contemporary art boom.

Fabian's study is a classic in the field that changed the way anthropologists relate to their subjects and is of immense value not only to anthropologists but to all those concerned with the study of man. A new foreward by Matti Bunzl brings the influence of Fabian's study up to the present.

"Time and the Other" is a critique of the notions that anthropologists are "here and now," their objects of study are "there and then," and that the "other" exists in a time not contemporary with our own.

Time and the Other is a classic work that critically reexamined the relationship between anthropologists and their subjects and reoriented the approach literary critics, philosophers, and historians took to the study of humankind. Johannes Fabian challenges the assumption that anthropologists live in the "here and now," that their subjects live in the "there and then," and that the "other" exists in a time not contemporary with our own. He also pinpoints the emergence, transformation, and differentiation of a variety of uses of time in the history of anthropology that set specific parameters between power and inequality. In this edition, a new postscript by the author revisits popular conceptions of the "other" and the attempt to produce and represent knowledge of other(s).

In the 1990s, Vienna's Jews and queers abandoned their clandestine existence and emerged into the city's public sphere in unprecedented numbers. "Symptoms of Modernity "traces this development in the context of Central European history.
Jews and homosexuals are signposts of an exclusionary process of nation-building. Cast in their modern roles in the late nineteenth century, they functioned as Others, allowing a national community to imagine itself as a site of ethnic and sexual purity. In Matti Bunzl's incisive historical and cultural analysis, the Holocaust appears as the catastrophic culmination of this violent project, an attempt to eradicate modernity's abject by-products from the body politic. As "Symptoms of Modernity "shows, though World War II brought an end to the genocidal persecution, the nation's exclusionary logic persisted, accounting for the ongoing marginalization of Jews and homosexuals.
Not until the 1970s did individual Jews and queers begin to challenge the hegemonic subordination--a resistance that, by the 1990s, was joined by the state's attempts to ensure and affirm the continued presence of Jews and queers. "Symptoms of Modernity "gives an account of this radical cultural reversal, linking it to geopolitical transformations and to the supersession of the European nation-state by a postmodern polity.

In 2008, anthropologist Matti Bunzl was given rare access to observe the curatorial department of Chicago's Museum of Contemporary Art. For five months, he sat with the institution's staff, witnessing firsthand what truly goes on behind the scenes at a contemporary art museum. From fund-raising and owner loans to museum-artist relations to the immense effort involved in safely shipping sixty works from twenty-seven lenders in fourteen cities and five countries, Matti Bunzl's "In Search of a Lost Avant-Garde" illustrates the inner workings of one of Chicago's premier cultural institutions.
Bunzl's ethnography is designed to show how a commitment to the avant-garde can come into conflict with an imperative for growth, leading to the abandonment of the new and difficult in favor of the entertaining and profitable. Jeff Koons, whose massive retrospective debuted during Bunzl's research, occupies a central place in his book and exposes the anxieties caused by such seemingly pornographic work as the infamous "Made in Heaven "series. Featuring cameos by other leading artists, including Liam Gillick, Jenny Holzer, Karen Kilimnik, and Tino Sehgal, the drama Bunzl narrates is palpable and entertaining and sheds an altogether new light on the contemporary art boom.

The apparent resurgence of hostility toward Jews has been a prominent theme in recent discussions of Europe; at the same time, the adversities faced by the continent's Muslim population have received increasing attention. In "Anti-Semitism and Islamophobia," Matti Bunzl offers a historical and cultural clarification of the key terms in these ongoing problems. Arguing against the common impulse to analogize anti-Semitism and Islamophobia, it instead offers a framework that locates the two phenomena in different projects of exclusion.
According to Bunzl, anti-Semitism was invented in the late nineteenth century to police the ethnically pure nation-state. Islamophobia, by contrast, is a phenomenon of the present, marshaled to safeguard a supranational Europe. With the declining importance of the nation-state, traditional anti-Semitism has run its historical course, while Islamophobia threatens to become the defining condition of the new, unified Europe. By ridding us of misapprehensions, "Anti-Semitism and Islamophobia" enables us to see these forces anew.