Download or read book Modernism in Dispute written by John Harris and published by Yale University Press. This book was released on 1993-01-01 with total page 282 pages. Available in PDF, EPUB and Kindle. Book excerpt: This volume is part of a four-volume series about art and its interpretation in the 19th and 20th centuries. The books provide an introduction to modern European and American art and criticism that should be valuable both to students and to the general reader.

Download or read book Modernism in Dispute Art Since the Forties written by Paul Wood and published by . This book was released on 1994 with total page 267 pages. Available in PDF, EPUB and Kindle. Book excerpt: On art and politics.

Download or read book Modern Art written by and published by . This book was released on 1993 with total page 267 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Modern Art written by Jonathan Harris and published by . This book was released on 1993 with total page 283 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Composing Cultures written by Eric Aronoff and published by University of Virginia Press. This book was released on 2013-10-18 with total page 310 pages. Available in PDF, EPUB and Kindle. Book excerpt: The term "culture" has become ubiquitous in both academic and popular conversations, but its usefulness is a point of dispute. Taking the current shift from cultural studies to aesthetics as the latest form of this discussion, Eric Aronoff contends that in American modernism, the concepts of culture and of aesthetics have always been inseparable. The modernist concept of culture, he argues, arose out of an interdisciplinary dialogue about value, meaning, and form among social critics, artists, anthropologists, and literary critics, including figures as diverse as Van Wyck Brooks, Edward Sapir, Willa Cather, Lewis Mumford, John Crowe Ransom, Raymond Weaver, and Allen Tate. These figures proposed new ways to conceive of culture that intertwined theories of aesthetic and literary value with theories of national, racial, and regional identity. Through close readings, Aronoff shows that disciplines and approaches that are often thought of as opposed—cultural anthropology and aesthetics, American literary history and literary criticism, and multiculturalism and regionalism—are in fact engaged in common debate and proceed from shared arguments about culture and form.

Download or read book The Challenge of the Avant garde written by Paul Wood and published by Yale University Press. This book was released on 1999-01-01 with total page 292 pages. Available in PDF, EPUB and Kindle. Book excerpt: The Challenge of the Avant-Garde is the fourth of six books in the series Art and its Histories, which form the main texts of an Open University course. The course has been designed for students who are new to the discipline but will also appeal to those who have undertaken some study in this area. This volume traces the challenge posed to the academic canon by the emergent avant-garde of the early and mid-nineteenth century.It looks at significant shifts in the development of the concept, both in moves away from the sense of social leadership to a desire for artistic autonomy in the later nineteenth century and then a reverse movement to bridge the gap between art and life in the revolutionary avant-gardes of the early twentieth century. The book closes with an examination of the eventual incorporation of the avant-garde as a form of modern canon by the eve of World War II. Throughout, it seeks to relate the discourse of artistic avant-gardism in all its forms to contemporary social and political histories.

Download or read book Primitivism Cubism Abstraction written by Charles Harrison and published by Yale University Press. This book was released on 1993-01-01 with total page 280 pages. Available in PDF, EPUB and Kindle. Book excerpt: On art in the early 20th century

Download or read book Modernism s History written by Bernard Smith and published by UNSW Press. This book was released on 1998 with total page 388 pages. Available in PDF, EPUB and Kindle. Book excerpt: Encompassing movements from post-impressionism to post-modernism, eminent and widely published art historian Bernard Smith has written a sweeping history, a reformulation of art history in the twentieth century.

Download or read book Preface to Modernism written by Art Berman and published by University of Illinois Press. This book was released on 1994 with total page 372 pages. Available in PDF, EPUB and Kindle. Book excerpt: Berman traces the conceptual lineage of modernism, examining its evolution in Western art and literature through empiricism, idealism, and romanticism. Using modernist literary and visual movements as examples, Berman demonstrates how modern social, political, and scientific developments--including capitalism, socialism, humanism, psychoanalysis, fascism, and modernism itself--have altered attitudes toward time, space, self, creativity, the natural world, and community.

Download or read book Modern Art Despite Modernism written by Robert Storr and published by . This book was released on 2000 with total page 247 pages. Available in PDF, EPUB and Kindle. Book excerpt: Essay by Robert Storr. Foreword by Glenn D. Lowry.

Download or read book Revisiting Modernism written by Maria-Ana Tupan and published by Aesthetics Media Services. This book was released on with total page pages. Available in PDF, EPUB and Kindle. Book excerpt: By shifting the centre of gravity from author to reader, Roland Barthes had certainly prepared us for a Copernican turn in aesthetics, yet Michael J. Pearce’s Art in the Age of Emergence still sounds unfamiliar two years after its publication. While acknowledging the existence of homologies among the art objects of a cultural phase, the Californian academic also launches an explanatory hypothesis:”I realized that in order to understand art, instead of looking for the similarities between the paintings and the sculptures we have to look at the similarities between the people looking at them. Art is better explained by looking at how the mind works than by looking at the products of mind.”(XV). The substitution of the phenomenology of mind for the phenomenology of the work of art can only have a partial contribution to the understanding of period terms, yet not devoid of relevance. The numerous studies in modernism published of late, for instance, are revisionary, the changing views being motivated by the new historical context rather than by a new assessment of forms. The mind turns out to be working acording to the critical theory it has been exposed to or which it has freely embraced. Relegated to the status of socio-political movement without aesthetic significance since 1939, when Clement Greenberg associated it with kitsch, to Renato Poggioli, Peter Bürger or Christopher Butler (Early Modernism: Literature, Music, and Painting in Europe, 1900-1916, 1994), the avant-garde came to be enshrined as the weightiest artistic phenomenon and “the last post of modernism” by Richard Sheppard in Modernism-Dada-Postmodernism (2000), who joined thus a new party of postmodern critics, among whom, Linda Hutcheon, who see the historical avant-garde as the generative matrix of the post-war literature in the 50s and the 60s, stretching the term to include the French nouveau roman or the Tel Quel. Quoted by Sheppard on Marx’s Communist Manifesto being “the first great modernist work of art”, Marshall Berman (All That Is Solid Melts into Air, 1982) too welcomes modernism into the sixties and seventies. Titles, such as, Avant Garde and After: Rethinking Art Now, by Brandon Taylor, have tilted the scales measuring modernism against the avant-garde into a more balanced position, even if also the leads of the earlier twentieth century have been the object of New-Historicist and culturalist approaches that corrected the Axel Castle icon of egocentric aloofness through readings that evinced the substantial presence of history in the writings of Woolf, Joyce or D. H. Lawrence. With interdisicplinarity the latest buzz word in the academic world, lots of studies have been dedicated to the influence of Non-Euclidian Geometry, relativity and quantum physics on modernist art, for instance, Surrealism, Art and Modern Science. Relativity, Quantum Mechanics,Epistemology by Gavin Parkinson (2008). The most spectacular renovation has probably been undergone by no other than Charles Baudelaire, the founding father, who has been removed from his site with transcendent flavours and symbolic correspondences and inserted into the phantasmagoric pre-cinematic media world : Marit Grotta: Baudelaire's Media Aesthetics (The Gaze of the Flâneur and 19-th Century Media). If we travel back in time to get a feeling of what modernists saw in each other and compare their vision with such contemporary framing, we realize to what extent the history of reception modifies the history of composition. Mina Loy’s ekphrasis of sculptor Brancusi’s Golden Bird, for instance, conveys the modernist artist’s infatuation with archetypes, tropes of immaculate conception, “breast of revelation”or hyperaesthesia – the alchemy whereby the senses projected a secondary reality of mixed perceptions. Is there a possibility to negotiate meanings when talking to the dead, as Stephen Greenblatt has put it in the opening of Shakespearean Negotiations? Used also by Ayendy Bonifacio in his essay on Hart Crane,” interliterariness” is a middle-European term for what Russian semioticians or French and American social critics or American New Historicists had already attempted to achieve: an archeology of meaning, a history and a philosophy of culture that help the visitor of past ages assess meaning and value. The more elements of a culture’s codes are absorbed into an art object, the more representative and valuable is its testimony in the history of the spirit. Understanding such ”serious and heavy” codes, as Pound dubbed them, takes longer, studies of a work’s genealogy bringing it to light in all its complexity. The history of literature is replete with such novas, Irish Flann O’Brien, whose works are an ark of his time’s literary, aesthetic, scientific or political ideas, is the revelation of the last decade, emerging almost out of anonymity thanks to systematic research initiated by a team coordinated by Professor Werner Huber from the University of Vienna. Whether the Virgilian guide be New Historicist Greenblatt, or, as suggested by Professor Sachin C. Ketkar in his essay, Lotman’s semiotics or Dionyz Durisin’s study of the discursive exchanges of semantic energy across national boundaries, it becomes possible, for instance, to read Mardhekar in the context of the international modernist movements and in light of ”interliterary ‘genetic-contactual relations’ instead of the idea of ‘influence’ which invariably brings in normative hierarchy between the influencer and the influenced, placing the latter on a lower or secondary position.” In the beginning, building international communities was indeed a matter of hierarchies of power. Japan or China were forced to open their harbours to international trade, coming out of their ancestral isolation, while the Macaulay law forced Indians into chimeric native bodies and Emglish minds. Merchants or colonizers, however, opened the way to enlightened politicians, scientists or artists. In his History of Romanian Civilization, Eugen Lovinescu, critic and editor of the earlier twentieth century, distinguishes between evolutionary and revolutionary models of culture. The major cultures know a continuous and organic growth, whereas minor ones, lured by centres of influence, break off abrupty from their traditions borrowing foreign models. That is why it is easy to date period terms in the latter, whereas the former have very discreet lines of demarcation. Ezra Pound’s manifesto of imagism, for instance, is heavily indebted to Alfred Binet’s model of reasoning through associations of images instead of syllogisms, but ahead of Binet there was Herbart, and before Herbart, Kant, who had borrowed ideas for his Anthropology from David Hume ... It is again the constitution of homologies across disciplinary spheres and reciprocal loans that allow an observer to identify a territorialization, as Deleuze calls it, that is, a distinct type of culture. Politically speaking, modernism begins with Baudelaire’s declaration of war on the bourgeois: “Vous êtes la majorité, – nombre et intelligence ; – donc vous êtes la force, – qui est la justice.”(You are the majority - in number and intelligence; therefore you are the force – which is justice – Salon de 1846). With its nomination of the working class as being entitled to lead the other social classes – which they did when they had the chance – Marx’s Capital meant even less democracy than the bourgeois republic. The modernist political discourse was one of individualism and human rights, built on Jefferson’s model. It is this fascinating rebel against hypocritical social conventions that still appeals to the nonconformist youth cultures, Shweta Basu undertaking a study in the translation of “Flowers of Evil” across cultures and rmedia in a Japonese manga series. Modernism saw the collapse of dynasties, and the foundation of international leagues of nations enjoying equal rights or of clubs of the intellectual elites of all nations (PEN CLUB). E. M. Forster was writing in 1938: “I believe in aristocracy . . . Not an aristocracy of power, based upon rank and influence, but an aristocracy of the sensitive, the considerate and the plucky.” Under the circumstances of huge differences in point of civilization – Bipin Balachandran mentions the case of Poland and other middle and East-European countries – but capitalizing on the widely circulated narrative of the superiority of culture over civilization, which was considered to be rapidly changing into a soulless machinery, individual contacts of scholars or artists contributed to the emergence of a truly international spirit and a cosmopolitan culture. By contrast, the eighteenth century had thrived on models of justified hierarchies (the best of all possible worlds), colonizing missions, histories of empires to learn from them the rise to international power. The systematic oppositions we can establish between the Enlightenment and modernism prevent us from merging them into ”a singular modernity” (Frederic Jameson). The culture of modernism is a hybrid one, with metropolitan cultures fascinated by the new nations they were put in contact with, open to the foreigners who sought them out to study or pursue a career. Japanese art was studied and imitated, while the interest in India, aroused by the discovery of the common origin of Indo-European languages, by Schopenhauer’s philosophy or by Madame Balavatsky’s esoteric pursuits, emulated by the British and the Americans alike, reached such proportions that references to India almost became a sign of recognition. Even quantum physics pioneers, Heisenber and Schrὅdinger, owned a debt to Hindu mythology and the Indian logic of the included third. Naturally possessed of this mindset, physicist Satyendra Nath Bose initiated calculations of a new state of condensed matter, where atoms lose their identity reaching the peace of a frozen quantum state of superimposed waves. The experiment is known as the Bhose-Einstein condensate. A very fashionable topic of research nowadays, the search for native forms of modernism outside the centrality of Paris, London or New York is usually successful. Paraphrasing, scratch a national culture and you will find traces of modernism. It was not difficult for Rindon Kundu and Saswati Saha to spot out a Wagner in Latin America in the person of Rubén Darío, and even an aesthetic contest between him and Enrique González Martínez, similar to the Wyndham Lewis-Marinetti duel in Europe. For T.S. Eliot, India was a myth of origin from The Love Song of Alfred Prufrock to The Waste Land. As he confessed in a speech in memory of Rudyard Kipling, the former was inspired by The Love Song of Har Dyal. Eliot’s protagonist is spiritualy impoverished, frustrated by lack, not of love affairs but of strong feelings, like those that give lovers the courage to risk their lives in the Indian story. Anindita Mukherjee chooses another contextualization, out of many possible, as is the case with the erudite modernists, and that is Rilke’s thoughts on love disclosed to a young poet who had asked him for advice. In that letter, Rilke says that dragons are but princesses who want to see their lovers courageous. Prufrock is acutely aware of his inferiority in relation to bright, cultivated women, who comment on his weakness, while the imagery surrounding them suggests the strength of warrior-women (And I have known the arms already, known them all— /Arms that are braceleted). The essayist notices though the redemption of the protagonist, his final capacity to dismiss his daily routine as rubbish and reach for transcendence. Sumi Bora looks into textual traces of the relationship between the poet and his rhetorical masks, interrogating the status of the authorial figure and biography in the modernist text. The web of mythic allusions in The Waste Land is a familiar feature of the modernist agenda ”to seek reality and justice in a single vision (Yeats). Nisarga Bhattacharjee and Ananya Chatterjee write on the modernists’ use of myth as part of the mythopoetic tradition, blooming into extended metaphors of life or of the human condition, while Susan Haris is plumbing into the symbolism of unconscious drives and identification with elementary nature in D.H. Lawrence’s personal version of psychoanalysis. The figural psyche of modernist fiction and the gendered landscape of female isolation is Lava Asaad’s focus on the early modernist career of Jean Rhys, better known for her postcolonial rewriting of Jane Eyre. Is there an aesthetic continuity between the historical avant-garde and the Beat Generation or the abstract expressionism in the 50s and 60s? Allen Ginsberg, John Ashbery or Lawrence Ferlinghetti engage often in dialogue with precedent canonical texts, their intertexts sinning on the side of courteous attitudes to tradition, which does not fit into the context of Marinetti’s dismissal of libraries, academies and museums (The Futurist Manifesto). Abstract art is, obviously, something different from found objects, while, in critical theory, the fifties and the sixties saw the rise of semiotics, psychoanalysis, deconstruction, feminism, that is, of the very practice of interdisciplinarity in literary criticism, something at the other pole from New Criticism and other formalisms in which ended up structuralism. Although not irrelevant in point of aesthetic achievement, Ayendy Bonifacio writing persuasively on Hart Crane’s constructivist rhetoric, the avant-garde is still perceived as a self-standing chapter in the cultural history of modernism. The exchange of cultural narratives and traditions, fostered by historical circumstances but also by Worringer’s aesthetics that praised primitive art for its tendencies towards abstraction in flight from a threatening and alien nature, that could provide a spiritual cure to a materialistic civilization, was defining for the poetics of art at the turn of the last century. Modernism was humanity’s first coming together.

Download or read book Post Modernism and the Social Sciences written by Pauline Marie Rosenau and published by Princeton University Press. This book was released on 1991-11-05 with total page 250 pages. Available in PDF, EPUB and Kindle. Book excerpt: Post-modernism offers a revolutionary approach to the study of society: in questioning the validity of modern science and the notion of objective knowledge, this movement discards history, rejects humanism, and resists any truth claims. In this comprehensive assessment of post-modernism, Pauline Rosenau traces its origins in the humanities and describes how its key concepts are today being applied to, and are restructuring, the social sciences. Serving as neither an opponent nor an apologist for the movement, she cuts through post-modernism's often incomprehensible jargon in order to offer all readers a lucid exposition of its propositions. Rosenau shows how the post-modern challenge to reason and rational organization radiates across academic fields. For example, in psychology it questions the conscious, logical, coherent subject; in public administration it encourages a retreat from central planning and from reliance on specialists; in political science it calls into question the authority of hierarchical, bureaucratic decision-making structures that function in carefully defined spheres; in anthropology it inspires the protection of local, primitive cultures from First World attempts to reorganize them. In all of the social sciences, she argues, post-modernism repudiates representative democracy and plays havoc with the very meaning of "left-wing" and "right-wing." Rosenau also highlights how post-modernism has inspired a new generation of social movements, ranging from New Age sensitivities to Third World fundamentalism. In weighing its strengths and weaknesses, the author examines two major tendencies within post-modernism, the largely European, skeptical form and the predominantly Anglo-North-American form, which suggests alternative political, social, and cultural projects. She draws examples from anthropology, economics, geography, history, international relations, law, planning, political science, psychology, sociology, urban studies, and women's studies, and provides a glossary of post-modern terms to assist the uninitiated reader with special meanings not found in standard dictionaries.

Download or read book Modernism and Fascism written by R. Griffin and published by Springer. This book was released on 2007-05-22 with total page 467 pages. Available in PDF, EPUB and Kindle. Book excerpt: Intellectual debates surrounding modernity, modernism and fascism continue to be active and hotly contested. In this ambitious book, renowned expert on fascism Roger Griffin analyzes Western modernity and the regimes of Mussolini and Hitler and offers a pioneering new interpretation of the links between these apparently contradictory phenomena.

Download or read book The Challenge of Periodization written by Lawrence Besserman and published by Routledge. This book was released on 2014-02-04 with total page 278 pages. Available in PDF, EPUB and Kindle. Book excerpt: In these essays some of today's leading literary scholars and cultural critics re-examine major writers, genres, and themes in relation to their traditional period affiliations. The essays cover a broad range of writers and periods from the Middle Ages to the present, grouped in two main areas: Chaucer and Medieval and Renaissance studies (Larry D. Benson, Heiko A. Oberman, Lee Patterson, and Aldo Scaglione), and English and American literary history (Sanford Budick, H. M. Daleski, Denis Donoghue, Robert J. Griffin, Geoffrey Hartman, J. Hillis Miller, Jerome McGann, and Helen Vendler). In addition to shedding new light on a specific author, each essay also refines or reinvigorates critical approaches to specific periods. The analyses illuminate and clarify our understanding of what are traditionally but problematically called the Medieval, Renaissance, Enlightenment, Romantic, Modern, and Postmodern eras in European cultural history.

Download or read book A Genealogy of Modernism written by Michael Harry Levenson and published by Cambridge University Press. This book was released on 1986-06-27 with total page 272 pages. Available in PDF, EPUB and Kindle. Book excerpt: A Geneology of Modernism is a study of literary transition in the first two decades of the twentieth-century, a period of extraordinary ferment and great accomplishment, during which the avant-garde gradually consolidated a secure place within English culture. Michael Levenson analyses that complex process by following the successive phases of a literary movement - Impressionist, Imagist, Vorticist, Classicist - as it attempted to formulate the principles on which a new aesthetic might be founded. The emphasis here falls on the ideology of modernism, but throughout the book the ideological question is tied on the one hand to specific literary works and on the other to general movements in philosophy and the fine arts. The major figures under discussion, Joseph Conrad, Ford Madox Ford, Ezra Pound, Wyndham Lewis, and T. S. Elliot, are placed in relation to thinkers who have been largely neglected in the history of modernism: Max Stirner, Wilhelm Worringer, Pierre Lasserre, Allen Upward, and Hilaire Belloc. Levenson thus situates the emergence of a modernist aesthetic within the context of literary theory, literary practice, and cultural history.

Download or read book Fundamentalism and Modernism written by Duren James Henderson Ward and published by . This book was released on 1925 with total page 36 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book After Modern Art 1945 2000 written by David Hopkins and published by Oxford University Press. This book was released on 2000-09-14 with total page 289 pages. Available in PDF, EPUB and Kindle. Book excerpt: Following a clear timeline, the author highlights key movements of modern art, giving careful attention to the artists' political and cultural worlds. Styles include Abstract Expressionism, Pop Art, Minimalism, Conceptualism, Postmodernism, and performance art. 65 color illustrations. 65 halftones.