The Logic of Compressed Modernity. Chang Kyung-Sup
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Название: The Logic of Compressed Modernity

Автор: Chang Kyung-Sup

Издательство: John Wiley & Sons Limited

Жанр: Социология

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isbn: 9781509552900

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СКАЧАТЬ their interrelations” is directly relevant for the inter-unit interactive variability of (compressed) modernities discussed here. The authoritarian attribute of many postcolonial states in leading dependent modernization as often induces or intensifies this internal multiplicity of modernities as reduces or integrates it (see Chapter 4 in this book). The recent globalization trend, despite its dominant neoliberal impetus, tends to necessitate subnational (and supranational) units to intensify their separate efforts and independent functions for actively coping with the floods of new risks and opportunities in the global age and thereby reinforce their status as units of compressed modernity (Chang, K. 2016a).

      In Chapter 2, “Compressed Modernity: Constitutive Dimensions and Manifesting Units,” I intend to present a formal definition and core theoretical/historical components of compressed modernity. Compressed modernity consists of multiple dimensions constructed by all possible combinations of temporal (historical) and spatial (civilizational) manifestations of human social activities, relationships, and assets – namely, temporal condensation of historical change, spatial condensation of civilizational compass, compressed mixing of diverse temporalities (eras), compressed mixing of diverse spaces (civilizations), and interactions among the above. Compressed modernity can be manifested at various levels of human existence and experience – that is, personhood, family, secondary organizations, urban/rural localities, societal units (including civil society, nation, etc.), and, not least importantly, the global society. At each of these levels, people’s lives need to be managed intensely, intricately, and flexibly in order to remain normally integrated with the rest of society. Compressed modernity is a critical theory of postcolonial social change, aspiring to join and learn from the main self-critical intellectual reactions of the late twentieth century as to complex and murky social realities in the late modern world, including postmodernism, postcolonialism, reflexive modernization, and multiple modernities.

      As explained in Chapter 4, “Internal Multiple Modernities: South Korea as Multiplex Theatre Society,” modernity – and the process of modernization – can be plural not only across different national societies, as persuasively indicated in Eisenstadt’s “multiple modernities” thesis, but also within each national society. Korea has been particularly distinct in such internal multiplicity of modernities, including colonial dialectical modernity, postcolonial reflexive institutional(ist) modernization, postcolonial neotraditionalist modernity, free world modernity under the Cold War, state-capitalist modernity, cosmopolitan modernity under neoliberal economic globalism, and associative subaltern liberal modernity. These internally diverse modernities reflect a series of overpowering international influences and related local upheavals and confrontations to which Korean society and its people have been subjected since the late nineteenth century. Each of these modernities is not uniquely or exclusively Korean because they have been embedded in the global structures and processes of modern social change. Nevertheless, South Korea is certainly remarkable in the volume of multiplicities of modernities, the dramatic and intense realization of each modernity, the protracted operation of each modernity, and the extremely complex interactions among such multiple modernities. With all such impetuses and forms of modernities permanently extending their lifespan as variously embodied in the identites and interests of different generations, genders, classes, sectors, and/or regions, South Korea has been socially configured and reconfigured as a multiplex theater society in which all possible claims of modernities are aggressively and loudly staged side by side and/or one after another, however, without a clear clue to civilizational or sociopolitical reconciliation among them.