"Cult of ugliness," Ezra Pound’s phrase, powerfully summarizes the ways in which modernists such as Pound, T. S. Eliot, Wyndham Lewis, and T. E. Hulme—the self-styled "Men of 1914"—responded to the "horrid or sordid or disgusting" conditions of modernity by radically changing aesthetic theory and literary practice. Only the representation of "ugliness," they protested, would produce the new, truly "beautiful" work of art. They dissociated the beautiful from its traditional embodiment in female beauty, and from its association with Walter Pater (...) and Oscar Wilde. Their cultivation of ugliness displaced misogyny and homophobia. Higgins takes in texts such as John Ruskin’s art criticism, Eliot’s literary journalism, Lewis’s pro-fascism pamphlets, and the poetry of Pound, Conrad Aiken, and Langston Hughes. She demonstrates that even vigorous champions of beauty were committed to aesthetic practices that disempowered female figures in order to articulate new truths of male artistic mastery. (shrink)

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. (shrink)

In this interview, Paul Virilio talks at length about his life and numerous published works ranging from Speed & Politics: An Essay on Dromology to the recently translated Polar Inertia. Considering important theoretical themes and questions relating to post- and 'hyper'- modernism, poststructuralism, modernity and postmodernity, Virilio discusses his often controversial views on the cultural writings of Foucault, Deleuze, Derrida and Baudrillard. In so doing, Virilio not only clarifies many of his architectural, political and cultural concepts such as 'military (...) space', 'dromology' and the 'integral accident' but also provides much food for thought for all those presently concerned with the social implications of the 'disappearance' of aesthetics, technoculture, information warfare, cloning and 'cyberfeminism'. (shrink)

Despite growing interest in examining the role of religion in business ethics, there is little consensus concerning the basis or standards of “good” or ethical behavior and the reasons behind them. This limits our ability to enhance ethical behavior in the workplace. We address this issue by examining worldviews as it relates to ethics research and practice. Our worldview forms the context within which we organize and build our understanding of reality. Given that much of our academic work as well (...) as business practice operate from a modern worldview, we examine how modernism shapes our beliefs and approaches to ethics in business and academia. We identify important limitations of modernism in addressing moral issues and religion. We then introduce the Christian worldview as an alternative approach to examining ethical issues in business. (shrink)

. Against modernist illusions: why we need more democratic and constructivist alternatives to debunking conspiracy theories. Journal for Cultural Research: Vol. 25, What should academics do about conspiracy theories? Moving beyond debunking to better deal with conspiratorial movements, misinformation and post-truth., pp. 104-122.

Modernist Objects is a unique mix of cultural studies, literature, and visual arts applied to the discrete materiality of modernist objects. Contributors explore the many tensions surrounding the modernist relationship to objects, things, products and artIfacts through the prism of poetry, prose, visual arts, culture and crafts.

The Reluctant Modernism of Hannah Arendt rereads Arendt's political philosophy in light of newly gained insights into the historico-cultural background of her work.

CAROLE BOURNE-TAYLOR AND ARIANE MILDENBERG Introduction: Phenomenology, Modernism and Beyond Etat Present It was at the Eleventh Virginia Woolf Conference ...

Existing approaches to the relation of law and society have for a long time seen law as either autonomous or grounded in society. Drawing on untapped resources in social theory, Fitzpatrick finds law pivotally placed in and beyond modernity. Being itself of the modern, law takes impetus and identity from modern society and, through incorporating 'pre-modern' elements of savagery and the sacred, it comes to constitute that very society. When placing law in such a crucial position for modernity, Fitzpatrick ranges (...) widely from the colonizations of the Americas, through the thought of the European Enlightenment, and engages finally with contemporary arrogations of the 'global'. By extending his previous work on the origins of modernity, this book makes a significant contribution to continuing developments in law and society, legal philosophy, and jurisprudence. (shrink)

Byzantium and Modernism -- The Slash (/) as Method -- CODA.

Madness and Modernism provides a phenomenological study of schizophrenic disorders, criticizing some standard conceptions of these disorders. Sass argues that many aspects of this group of disorders can actually involve more sophisticated (albeit dysfunctional) forms of mind and experience.

Modernism in the arts commenced during the second half of the 19th century and extended into most of the 20th. A significant feature of this period is that each type of art gave principal attention to dimensions of itself. This was a type of self-analysis. I consider those art forms consisting of an image on a flat two-dimensional surface. I give particular attention to painting, a familiar example of this type of image. Explanations of Modernism are philosophically relevant (...) not only for aesthetics but also for epistemology. The reason is that an analysis of our perceptions as a result of seeing a painted image can contribute to philosophy's analysis of the process by which we obtain knowledge through perception. I argue that we should interpret Modernism as contributing to this investigation. (shrink)

This article elaborates on the dilemma faced by modernist poets in seeking to define values in an intellectual context that was post-Romantic and post-epistemic. Pound and Stevens, for example, reacted strongly against the ways that Romantic writers had tried to tie the rhetorical elaboration of values to precise descriptions, as if description could still support values. Victorian writing tended to experience the effort to ground value in fact as a source of constant irony, given that the desired values refused to (...) become manifest. Positivist philosophy and its literary allies asserted that values simply occupy a different and much more unstable realm than do facts. Having established these historical premises, the essay then concentrates on how Stevens and Pound, in challenging positivist assumptions, sought two different sources of value, each of which, however, placed value within the domain of experience. Pound's approach was Nietzschean, in that it was Nietzsche who had demonstrated how valuing precedes determinations about fact. Pound's capacity to make his early lyric poems seem to come out of nowhere and depend on linguistic invention alone for their power is shown to be a realization of Nietzschean strategies. Meanwhile, Stevens in his early work tried out a range of attitudes that seemed to him capable of defying fact, especially by approximating aphoristic self-assertion. Finally, Pound in his Cantos and Stevens from the late thirties onward developed self-reflexive versions of an analogical model of valuing that, as Dora Zhang has shown, shaped the response of novelists (James, Proust, and Woolf) to the same dilemma that modernist poets were facing. The essay closes with a reading of section XII of “An Ordinary Evening in New Haven” as a demonstration of Stevens's analogical mode. (shrink)

Modernism in British arts, literature and philosophy is manifest as a unique thing around and after 1900. This paradigm shift in all arts and modern science made traditional beliefs, norms, and social patterns obsolete. Forerunners were 19th century intellectuals, who favoured a new and lively spiritual culture. A new concept of reality changed the view of nature (atomic physics) but also structure and gist of literature. As the belief in the visible world declined, consciousness and symbolism (surface and depth (...) structures) occupied the focus of attention. Literature became an autonomous field. From artistic subjectivity modernism led the way to crystallizing creation of complex imaginative structures. Simultaneously, neorealism in philosophy and relativity in physics substituted a worn-out mechanistic world picture by a scientific reality reaching far beyond the visible world. (shrink)

Vi som är radikala i socialpolitik bör vara det också i kulturpolitik. Så kunde man uttrycka sig i svensk kulturdebatt för femtio år sedan. Därmed anslås ett ledmotiv i denna essä: växelspelet mellan modernitet och modernism och dess konsekvenser för musikens vidkommande. Vi får följa denna utveckling från mitten av 1800-talet till slutet av 1960-talet med personer som Wagner, Baudelaire och Nietzsche, Schönberg, Stravinskij och Adorno, de italienska futuristerna och fransmännen kring den konkreta musiken i blickpunkten. Vi möter reflexioner (...) kring avantgardism och dess svenska varianter i symbios med folkhemmet och det hela utmynnar i ett sammanflöde av modernism och modernitet med Luciano Berios berömda Sinfonia i centrum. (shrink)

This article examines two of the most significant Italian political movements at the turn of the twentieth century—anarchism and Futurism. Although these movements shared a common vocabulary and rhetoric, they contrasted sharply in their aims and objectives. I address three interrelated questions: How were these movements and their ideologies related to, and perceived by, the ruling elites? What were their mutual influences and inspirational centre? Did both movements share a broader core ideology? To answer these questions, I explore the links, (...) parallels and dissimilarities between anarchism and Futurism in the context of the nationalist mass mobilizations preceding World War I. In line with Emilio Gentile’s landmark analysis, I identify the core ideology of Futurism as a potent blend of nationalism and modernism. Futurism’s double matrix is thus contrasted with the theory and practice of anarchism, the two displaying sharply differing relationships with political power. I also consider the links... (shrink)

Jennifer Radden argues that delusions play an important role in modernist epistemology, which is preoccupied with the justification and evaluation of beliefs. Another theme running through the book is the importance of culture for attribution of delusion. Beliefs that look delusional will not be treated as pathological if they are expressions of religious views or other culturally acceptable forms of life. It is hard to see why cultural acceptability should play a role in the modernist project of justification. I suggest (...) that we think less about a philosophical project of justification and turn our attention instead to commonsense judgements of the circumstances in which we see a belief as evidence of underlying pathology. I discuss cases in which unjustified beliefs are nonetheless treated as phenomena that are consistent with our views of how healthy human beings act, and suggest that alongside folk psychology we should acknowledge a folk epistemology that embraces such instances. I suggest that delusions are beliefs that folk epistemology treats as inexplicable, and that this approach solves some of the puzzles that Radden identifies as growing out of the modernist epistemic project. (shrink)

_Five Faces of Modernity_ is a series of semantic and cultural biographies of words that have taken on special significance in the last century and a half or so: _modernity_, _avant-garde_, _decadence_, _kitsch_, and _postmodernism_. The concept of modernity—the notion that we, the living, are different and somehow superior to our predecessors and that our civilization is likely to be succeeded by one even superior to ours—is a relatively recent Western invention and one whose time may already have passed, if (...) we believe its postmodern challengers. Calinescu documents the rise of cultural modernity and, in tracing the shifting senses of the five terms under scrutiny, illustrates the intricate value judgments, conflicting orientations, and intellectual paradoxes to which it has given rise. _Five Faces of Modernity_ attempts to do for the foundations of the modernist critical lexicon what earlier terminological studies have done for such complex categories as _classicism_, _baroque_, _romanticism_, _realism_, or _symbolism_ and thereby fill a gap in literary scholarship. On another, more ambitious level, Calinescu deals at length with the larger issues, dilemmas, ideological tensions, and perplexities brought about by the assertion of modernity. (shrink)

Modernist Fiction and Vagueness marries the artistic and philosophical versions of vagueness, linking the development of literary modernism to changes in philosophy. This book argues that the problem of vagueness - language's unavoidable imprecision - led to transformations in both fiction and philosophy in the early twentieth century. Both twentieth-century philosophers and their literary counterparts were fascinated by the vagueness of words and the dream of creating a perfectly precise language. Building on recent interest in the connections between analytic (...) philosophy, pragmatism, and modern literature, Modernist Fiction and Vagueness demonstrates that vagueness should be read not as an artistic problem but as a defining quality of modernist fiction. (shrink)

The book explores two radical changes of cultural and social paradigm that determined the World after 1945 - Modernism and Postmodernism. From the cataclysmic atmosphere emerged the second wave of Modernism. In art this attitude was manifested in the form of a radical break with the aesthetic and stylistic characteristics of prior generations. In architecture the International Style was born, meanwhile similar "universality" was also a characteristic of musical serialism. From the beginning of the 1970s the wheels again (...) began to turn in the other direction. The powerful destructive will of modernism increasingly waivered, and the period after modernism - postmodernism - began. The book answers questions related to the reasons for these turnarounds, their consequences and their implications. (shrink)

In this groundbreaking new study, Ben Ware carries out a bold reassessment of the relationship between modernism and ethics, arguing that modernist literature and philosophy offer more than simply a snapshot of the moral conflicts of the past: they provide a crucial point of reference for today's emancipatory struggles. Modernism in this assessment is characterized not only by a concern with language and aesthetic creativity, but also by a preoccupation with the question of how to live. Investigating ethical (...) ideas in Wittgenstein, Beckett, Kierkegaard, Kant, Cavell, Marx, Henry James and Lacan, Ware demonstrates how these thinkers can bring us to a new understanding of a constellation of issues which contemporary radical thought must re-visit: utopia, repetition, perfectionism, subtraction, negativity, critique, absence, duty, revolution and political love. The result is a timely and provocative intervention, which re-draws the boundaries for future debates on the ethics and politics of modernism. (shrink)

The history of twentieth-century visual arts can no longer be written as a succession of avant-garde movements, contends eminent art historian Bernard Smith in this stimulating book. He argues that a return to the concept of period style is inevitable and that modernism--the dominant "style" of art that emerged at the end of the nineteenth century and continued through the 1960s--deserves recognition as a period style. Smith renames this period Formalesque since it is no longer modern and since it (...) emphasizes the formal values of art more than any previous period does. In a wide-ranging reformulation of art history in the twentieth century, the author defines the nature and development of Formalesque--an avant-garde style that arose between 1890 and the First World War, was institutionalized between the world wars, and flourished anew between 1945 and 1960. Identifying the Formalesque period, says Smith, makes it possible also to identify dialectical adversaries, such true oppositional avant-garde styles of the twentieth century as Dada, Surrealism, and the Neue Sachlichkeit. These constitute the formative elements of the modernism--now called postmodernism--that became increasingly dominant after 1960. The author locates twentieth-century artistic movements and developments in a broad cultural context and concludes with a thought-provoking examination of the relation between the Formalesque and European and American cultural imperialism. (shrink)

This revised and expanded second edition of Cahoone's classic anthology provides an unparalleled collection of the essential readings in modernism and postmodernism. Places contemporary debate in the context of the criticism of modernity since the seventeenth century. Chronologically and thematically arranged. Indispensable and multidisciplinary resource in philosophy, literature, cultural studies, social theory, and religious studies.

In this essay I consider whether the political perspective of third wave science studies – ‘elective modernism’ – offers a suitable framework for understanding the policy-making contributions that (bio)ethical experts might make. The question arises as a consequence of the fact that I have taken inspiration from the third wave in order to develop an account of (bio)ethical expertise. I offer a précis of this work and a brief summary of elective modernism before considering their relation. The view (...) I set out suggests that elective modernism is a political philosophy and that although its use in relation to the use of scientific expertise in political and policy-making process has implications for the role of (bio)ethical expertise it does not, in the final analysis, provide an account that is appropriate for this latter form of specialist expertise. Nevertheless, it is an informative perspective, and one that can help us make sense of the political uses of (bio)ethical expertise. (shrink)

Braiding together strands of literary, phenomenological and art historical reflection, Modernism and Phenomenology explores the ways in which modernist writers and artists return us to wonder before the world. Taking such wonder as the motive for phenomenology itself, and challenging extant views of modernism that uphold a mind-world opposition rooted in Cartesian thought, the book considers the work of modernists who, far from presenting perfect, finished models for life and the self, embrace raw and semi-chaotic experience. Close readings (...) of works by Paul Cézanne, Gertrude Stein, Franz Kafka, Gerard Manley Hopkins, Wallace Stevens, Paul Klee, and Virginia Woolf explore how modernist texts and artworks display a deep-rooted openness to the world that turns us into "perpetual beginners." Pushing back against ideas of modernism as fragmentation or groundlessness, Mildenberg argues that this openness is less a sign of powerlessness and deferred meaning than of the very provisionality of experience. (shrink)

Bringing together works by writers from sub-Saharan Africa, Turkey, central Europe, the Muslim world, Asia, South America and Australia – many translated into English for the first time – this is the first collection of statements on modernism by writers, artists and practitioners from across the world. Annotated throughout, the texts are supported by critical essays from leading modernist scholars exploring major issues in the contemporary study of global modernism. Global Modernists on Modernism is an essential resource (...) for students and scholars of modernism and world literature and one that opens up a dazzling new array of perspectives on the field. (shrink)

This paper argues that Cora Diamond's interpretation of Wittgenstein's early and later work, and her specific attempts to apply it in religious and ethical contexts, show a willingness to sacrifice elements of Wittgenstein's signature concepts to the demands of what she calls his 'realistic spirit'. The paper also argues that this willingness relates her project to a certain understanding of modernism in the arts.

In this article, I discuss Otto Neurath’s philosophy in the context of Vienna Circle modernism. Following recent scholarship, the discussion considers as a starting point Neurath’s participation at the fourth International Congress of Modern Architecture (CIAM IV). However, the image of Neurath’s modernism that results from this perspective is incomplete because it tends to overlook the importance of scientific utopianism in Neurath’s thought. Scientific utopianism is a methodology proposed by Neurath for the social sciences in technological contexts, in (...) which scientists elaborate and develop plans (utopias) for the transformation of society, thus contributing to an informed societal debate. Decisions are nevertheless kept outside the domain of scientific activity. I claim that recognizing the centrality of scientific utopianism in Neurath’s philosophy is fundamental to understand Neurath’s modernism. This interpretation highlights the affinities of Neurath’s philosophy of the social sciences with the modern utopianism of H. G. Wells. Both authors consider that there can be no ultimate solution to social problems but that a plural and constant debate of proposals is fundamental for the improvement of society. Therefore, Neurath’s modernism connects his philosophy of science to the literary utopian tradition. (shrink)

This book explores how Modernist movements all across the Mediterranean basin differed from those of other regions. The chapters show how the political and economic turmoil of a period marked by world war, revolution, decolonization, nationalism, and the rapid advance of new technologies compelled artists, writers, and other intellectuals to create a new hybrid Mediterranean Modernist aesthetic which sought to balance the tensions between local and foreign, tradition and innovation, and colonial and postcolonial.

In Victorian Modernism: Pragmatism and the Varieties of Aesthetic Experience Jessica Feldman sheds a pragmatist light on the relation between the Victorian age and Modernism by dislodging truistic notions of Modernism as an art of crisis, rupture, elitism and loss. She examines aesthetic sites of Victorian Modernism - including workrooms, parlours, friendships, and family relations as well as printed texts and paintings - as they develop through interminglings and continuities as well as gaps and breaks. Examining (...) the works of John Ruskin (art critic and social thinker), Dante Gabriel Rossetti (poet and painter), Augusta Evans (best-selling domestic novelist,) and William James (philosopher and psychologist), Feldman relates them to selected twentieth-century creations. She reveals these sentimental, domestic and sublime works to be pragmatist explorations of aesthetic realms. This study, which leads Modernism back into the Victorian age, will be of interest to scholars of literature, art history, and philosophy. (shrink)

By demonstrating that many of the concepts and styles associated with Modernism were actually derived directly from cultures such as Japan, China, Korea, India, Egypt, Assyria, West Africa, and the Pacific Islands, this book provides an entirely new way of looking at the evolution of Modernist art and literature in the West.

This book examines the social relevance of philosophy as this problem is posed in the contemporary Modernism-Postmodernism debate. Manuel P. Arriaga critically investigates the two sides of the debate in their various presuppositions and their equally diverse ramifications in fields ranging from political theory, philosophy of religion, and theory of knowledge, among others.

In this overview of twentieth-century American poetry, Jennifer Ashton examines the relationship between modernist and postmodernist American poetics. Ashton moves between the iconic figures of American modernism - Stein, Williams, Pound - and developments in contemporary American poetry to show how contemporary poetics, specially the school known as language poetry, have attempted to redefine the modernist legacy. She explores the complex currents of poetic and intellectual interest that connect contemporary poets with their modernist forebears. The works..

This essay asks why modernist art history has been unable to account for the career of the African American painter Rose Piper. One of the most gifted painters of her generation, Piper was also amo...

The idea this article relies on is that we should rethink cultural distance between modernism and post-modernism. We can no longer support the thesis of a radical break between the two cultural periods since many of the changes that have marked our contemporary world were initiated or at least announced in the modern period. Besides the cultural and epistemic factors, the socioeconomic conditions have also contributed to shape a new sensitivity and a new outlook. One of the major (...) contributions to this change was the replacement of the epistemic pedestal - oriented toward the metaphysical knowledge of the world - with a kind of knowledge inspired by the model of sciences which determined the understanding of the world as a „standing-reserve" (Heidegger). Thus, we speak about a techno-world, which is not merely a consequence of our way of interacting with our fellow beings or the environment. It is also a consequence of our wayof creating reality. The post-humanist approach of the man - similarly to modern utopias - considers technology the main means of improving human condition. Furthermore, we need to see in post-humanism the hope of rethinking humanity in a world growingly devoid of spiritual values. (shrink)

This paper argues that Cora Diamond's interpretation of Wittgenstein's early and later work, and her specific attempts to apply it in religious and ethical contexts, show a willingness to sacrifice elements of Wittgenstein's signature concepts to the demands of what she calls his 'realistic spirit'. The paper also argues that this willingness relates her project to a certain understanding of modernism in the arts.

The idea of modern art presupposes the rise of historicism and the sense of progress since the Enlightenment. Once art, however, conceives itself as progressive and hence modern, it is confronted by the paradoxes of progress: progress renders the modern obsolete at the same time as it seeks to give itself meaning by positing a goal, a destination that would be the end purpose and hence the end of progress. As a consequence, modern art is impelled to constantly transcend its (...) own achievements and limits in a utopian quest for the artwork of the future, the ultimate work of art. But what happens to art when the grand art-historical narrative of modernism collapses? I argue that the ‘modern’ mutates into the ‘contemporary’ and that art now defines itself not in relation to the future but to the present. Contemporary art understands itself as operating in the present, that is, as an art for the present. It finds its destination now in the latest institutionalization of the paradoxes of progress: the museum of contemporary art. (shrink)

Vibratory Modernism" is a collection of original essays that will enable scholars and students to explore how vibrations provided a means of bridging science and art -- two fields that became increasingly separate over the course of the nineteenth and early twentieth centuries. The book demonstrates the vital role played by vibrations in the fields of physics, physiology, spiritualism, and by new vibratory technologies, in helping to shape the way modernist art was made and viewed. The chapters are placed (...) into three connecting parts focusing on literature, the visual arts and theatre, each part highlighting the diverse ways in which writers, artists and performers engaged with the fascinating world of vibrations. (shrink)

Sandia National Laboratories, located in Albuquerque, New Mexico, was originally a part of Los Alamos Laboratory. In 1949, AT&T agreed to manage Sandia, which they did for the next 44 years. During those Cold War years, Sandia was the prime weapons engineering laboratory for Los Alamos and Lawrence Livermore. As such, it bore prime responsibility for designing and adapting nuclear weapons for the military services' delivery systems, and ensuring the safety and reliability of the stockpile. The Labs' history has been (...) unevenly documented, hindered by the secret nature of its work and the desire of management to maintain a low public profile. There have been three history programs at Sandia: a restricted history published internally in 1963; another history program in the early 1980s that resulted in a history of the Labs' first decade; and the current history program dating from the mid-1990s, which has published a general history and several monographs. This article discusses the challenges and problems inherent in documenting the history of a national weapons laboratory during the last 50 years. (shrink)

The role and influence of Modernism is the focus of this article. Modernism’s lasting and unforeseeable influence is due to its key importance to the development of the general conditions of art within modernity. Along with Modernism, the implications of the modern system of art became visible for real. Modernism produced the necessity of rethinking the distinction between “art” and “the aesthetic,” based on their original foundations in the 18th century, respectively – a call for a (...) “divorce” after the long-lived marriage between the two, installed by Romanticism. Furthermore so-called postmodernism and today’s contemporary art have in fact not, as often assumed, really broken with high Modernism. What we see is rather a transformation of a time-based modus into a more spatially defined approach. The interpretations of Modernism itself are thus being altered, when regarded with a postmodern awareness of its surrounding enunciative space. The interrelationship between the modernisms, and what followed, is therefore achieving the character of an entanglement rather than that of a straight and clear development. Modernism’s influence, it is finally asserted, is seemingly not at its conclusion, but rather at its reoccurring beginning. (shrink)

This revised and expanded second edition of Cahoone's classic anthology provides an unparalleled collection of the essential readings in modernism and postmodernism. Places contemporary debate in the context of the criticism of modernity since the seventeenth century. Chronologically and thematically arranged. Indispensable and multidisciplinary resource in philosophy, literature, cultural studies, social theory, and religious studies.

Literary theory of the twentieth century in the Anglo-American tradition forms a coherent whole, dividing into discrete clusters. This theory is riddled with purely logical problems inherent in its enterprise, resulting from the fact that Modernist theory develops as an offshoot of Romanticism. Such fundamental flaws, or discontents, afflict all Modernist theory, from Russian Formalism through Structuralism and Deconstruction. The problems of Modernist theory cannot be solved; at most we can resolve to take theory in a new direction.

This book reveals how, when, where and why vitalism and its relationship to new scientific theories, philosophies and concepts of energy became seminal from the fin de siècle until the Second World War for such Modernists as Sophie Tauber-Arp, Hugo Ball, Juliette Bisson, Eva Carrière, Salvador Dalì, Robert Delaunay, Marcel Duchamp, Edvard Munch, Picasso, Yves Tanguy, Gino Severini and John Cage. For them Vitalism entailed the conception of life as a constant process of metamorphosis impelled by the free flow of (...) energies, imaginings, intuition and memories, unconstrained by mechanistic materialism and chronometric imperatives, to generate what the philosopher Henri Bergson aptly called Creative Evolution. Following the three main dimensions of Vitalist Modernism, the first part of this book reveals how biovitalism at the fin de siècle entailed the pursuit of corporeal regeneration through absorption in raw nature, wholesome environments, aquatic therapies, electromagnetism, heliotherapy, modern sports, particularly rugby; water sports, the Olympic Games and physical culture to energize the human body and vitalize its life force. This is illuminated by artists as geoculturally diverse as Gustave Caillebotte, Thomas Eakins, Munch and Albert Gleizes. The second part illuminates how simultaneously vitalism became aligned with anthroposophy, esotericism, magnetism, occultism, parapsychology, spiritism, theosophy and what Bergson called "psychic states", alongside such new sciences as electromagnetism, radiology and the Fourth Dimension, as captured by such artists as Juliette Bisson, Giacomo Balla, Albert Besnard, Umberto Boccioni, Eva Carrière, John Gerrard Keulemans, László Mohology-Nagy, James Tissot, Albert von Schrenck Notzing and Picasso. During and after the devastation of the First World War, the third part explores how Vitalism, particularly Bergson's theory of becoming, became associated with Dadaist, Neo-Dadaist and Surrealist notions of amorality, atemporality, dysfunctionality, entropy, irrationality, inversion, negation and the nonsensical captured by Hans Arp, Charlie Chaplin, Theo Van Doesburg, Kazimir Malevich, Kurt Schwitters and Vladimir Tatlin alongside Cage's concept of Nothing. After investigating the widespread engagement with Bergson's philosophies, Vitalism and art by Anarchists, Marxists and Communists during and after the First World War, it concludes with the official rejection of Bergson and any form of Vitalism in the Soviet Union under Stalin. This book will be of vital interest to gallery, exhibition and museum curators and visitors plus readers and scholars working in art history, art theory, cultural studies, modernist studies, occult studies, European art and literature, health, histories of science, philosophy, psychology, sociology, sport studies, heritage studies, museum studies and curatorship. (shrink)

Whether we recognise it or not, virtually every aspect of our life today has been influenced in part by the aesthetic legacy of Modernism. In this Very Short Introduction Christopher Butler examines how and why Modernism began, explaining what it is and showing how it has gradually informed all aspects of 20th and 21st century life.