In the form of a lexicon, artist Mariam Ghani describes, together with her father, the renowned anthropologist and political scientist Ashraf Ghani, the cycle of repeated collapse and recovery that Afghanistan has undergone over the course of the twentieth century. The lexicon comprises seventy-one mostly illustrated terms that include central figures and places, words that carry a specific (political) meaning in the Afghan context, and entries on recurring events and defining themes. The notebook's point of departure is a detailed reflection on the reign of King Amanullah Khan (1919–29), whose successes and failures yielded a model for reformers who succeeded him. These thoughts are followed by a series of terms related to, among other things, Dar ul-Aman Palace, now a ruin, which was part of Amanullah's design for a "new city," and which characterized—as a space of exception, a center of conflict, a prototype for future plans, and a symbol of past failures—twentieth-century Afghan planning policy. Mariam Ghani (*1978) is an artist based in New York and Kabul . Ashraf Ghani (*1949), author of Fixing Failed States (in English) and A Window to a Just Order (in Dari and Pashtu), lives in Kabul . Language: English

Heralding a push for higher education to adopt a more global perspective, the term "globalizing knowledge" is today a popular catchphrase among academics and their circles. The complications and consequences of this desire for greater worldliness, however, are rarely considered critically. In this groundbreaking cultural-political sociology of knowledge and change, Michael D. Kennedy rearticulates questions, approaches, and case studies to clarify intellectuals' and institutions' responsibilities in a world defined by transformation and crisis. Globalizing Knowledge introduces the stakes of globalizing knowledge before examining how intellectuals and their institutions and networks shape and are shaped by globalization and world-historical events from 2001 through the uprisings of 2011–13. But Kennedy is not only concerned with elaborating how wisdom is maintained and transmitted, he also asks how we can recognize both interconnectedness and inequalities, and possibilities for more knowledgeable change within and beyond academic circles. Subsequent chapters are devoted to issues of public engagement, the importance of recognizing difference and the local's implication in the global, and the specific ways in which knowledge, images, and symbols are shared globally. Kennedy considers numerous case studies, from historical happenings in Poland, Kosova, Ukraine, and Afghanistan, to today's energy crisis, Pussy Riot, the Occupy Movement, and beyond, to illuminate how knowledge functions and might be used to affect good in the world.

Modernism à la Mode argues that fashion describes why and how literary modernism matters in its own historical moment and ours. Bringing together texts, textiles, and theories of dress, Elizabeth Sheehan shows that writers, including Virginia Woolf, D.H. Lawrence, W.E.B. Du Bois, Nella Larsen, and F. Scott Fitzgerald, turned to fashion to understand what their own stylized works could do in the context of global capital, systemic violence, and social transformation. Modernists engage with fashion as a mood, a set of material objects, and a target of critique, and, in doing so, anticipate and address contemporary debates centered on the uses of literature and literary criticism amidst the supposed crisis in the humanities. A modernist affect with a purpose, no less. By engaging modernism à la mode—that is, contingently, contextually, and in light of contemporary concerns—this book offers an alternative to the often-untenable distinctions between strong or weak, suspicious or reparative, and politically activist or quietist approaches to literature, which frame current debates about literary methodology. As fashion helps us to describe what modernist texts do, it enables us to do more with modernism as a form of inquiry, perception, and critique. Fashion and modernism are interwoven forms of inquiry, perception, and critique, writes Sheehan. It is fashion that puts the work of early twentieth-century writers in conversation with twenty-first century theories of emotion, materiality, animality, beauty, and history.

In the form of a lexicon, artist Mariam Ghani describes, together with her father, the renowned anthropologist and political scientist Ashraf Ghani, the cycle of repeated collapse and recovery that Afghanistan has undergone over the course of the twentieth century. The lexicon comprises seventy-one mostly illustrated terms that include central figures and places, words that carry a specific (political) meaning in the Afghan context, and entries on recurring events and defining themes. The notebook's point of departure is a detailed reflection on the reign of King Amanullah Khan (1919–29), whose successes and failures yielded a model for reformers who succeeded him. These thoughts are followed by a series of terms related to, among other things, Dar ul-Aman Palace, now a ruin, which was part of Amanullah's design for a "new city," and which characterized—as a space of exception, a center of conflict, a prototype for future plans, and a symbol of past failures—twentieth-century Afghan planning policy. Mariam Ghani (*1978) is an artist based in New York and Kabul. Ashraf Ghani (*1949), author of Fixing Failed States (in English) and A Window to a Just Order (in Dari and Pashtu), lives in Kabul. Language: English