Zygmunt Bauman’s sociology has often been seen as a bleak worldview; he has been called the ‘sociologist of misery’. This article argues that assigning pessimism and misery to Bauman’s work relies on a reading which does not fully consider his sociology of morality. When this is accounted for, Bauman can be seen to have a very optimistic worldview. The significance of such an observation rests on where Bauman’s optimism lies—namely in the hands of inevitably moral individuals who can acquiesce to, (...) reject or modify the demands of liquid modernity. This article argues, with reference to G.H. Mead’s concept of the ‘genius’, that this is where the potential for agency lies in Bauman’s conception of liquid modernity. This is given a political dimension by both Mead and Bauman’s advocacy of democratic forms to help realise this agency. Democracy operates as a ‘societal’ form of morality which builds upon Bauman’s ‘pre-societal’ discussion. (shrink)

This paper argues against assigning Zygmunt Bauman to the category of a ‘white’, ‘European’ theorist and the tendency to speak of an undifferentiated ‘Eurocentrism’. To argue this, I return to a set of articles by Bauman which reflected on the history of European Jewry. These encourage us to place Bauman in a historical and social context in which he is best identified as emerging from the racialized and classed politics of East European Jewry. Bauman traces how this group were made (...) the outsiders of the assimilatory project of West European Jewry then, as Jewish socialists, were victims of the political anti-Semitism of communist regimes. Not only does this encourages us to be critical of the claims that he spoke from an elite ‘white European’ position, it also has further lessons for sociology which, in its own ‘war against forgetfulness’, has tended to impose simplistic racialized and political categories onto theorists. (shrink)

This collection, the first of its kind, brings together specially commissioned academic essays to mark fifty years since the death of John Kennedy Toole.