This essay explores Adorno's neglected writings on democracy in the United States, composed in English and directed toward an American audience, to illuminate a democratic theory and practice oriented around the concepts of “democratic leadership,” “democratic pedagogy,” and “democratic enlightenment.” Bridging disciplinary divides, this essay brings the lens of artistic modernism to bear on Adorno's writings on democracy in America to illuminate the distinctive contributions of a political theory that might only appear partial and preliminary when analyzed through the (...) lens of conventional politics. Adorno's understanding of “democratic enlightenment” resonates with the modernist concept of epiphany and represents a translation of artistic modernism to the political realm. Reworking traditional readings of Adorno's politics and his relationship with the United States, this essay reads him as a democratic modernist whose lessons on the meaningful practice of democracy still speak powerfully and practically to Americans today. (shrink)

In spite of a large and diverse body of research on the topic, the relationship between Christianity and modernity is still an open question and a nodal point for our understanding of Western civilization. This paper aims at providing an original contribution to this debate by bringing into play the impact of gender-related views and practices. In particular, it focuses on Catholic Modernism, and analyzes this phenomenon and its repression by the Vatican hierarchy from the understudied perspective of female (...) historiography by way of an exemplary case study: the life and work of Maude Petre. Maude Petre (1863–1942) was a British Roman Catholic, member of a female religious community, a leading figure of Catholic Modernism, and one of its first historians. Because of the long-term patterns of gender imbalance which shaped the Catholic establishment and milieu, Petre's position as an active female modernist intellectual gave her a truly unique perspective on the confrontation between tradition and change within Western Christianity. Her work offers an outstanding opportunity to revise existing definitions of Catholic Modernism, while also opening new avenues to interpret the religious entanglements of the Western intellectual tradition at large. (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)

. 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.

At the heart of some of the most influential strands of philosophical, political, and aesthetic modernism lies the conviction that modernity is fundamentally nihilistic. This book offers a wide-ranging critical history of the concept of nihilism from its origins in French Revolutionary discourse to its place in recent theorizations of the postmodern. Key moments in that history include the concept's appropriation by political activists in mid-nineteenth-century Russia, by Nietzsche in the 1880s, by the European avant-garde and 'high' modernists in (...) the early decades of the twentieth century, by conservative revolutionaries in Germany in the interwar years, and by major theorists in the post-Holocaust period. Focusing in particular on the abiding impact of Nietzsche's claim that art is the 'only superior counterforce' to nihilism, Weller argues that an understanding of modernism (and, indeed, of postmodernism) is impossible without a reflection upon the decisive role played by the concept of nihilism therein. (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)

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.

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)

Modernist literature of the early to mid-twentieth century on both sides of the Atlantic is replete with examples of a particular kind of relationship with objects, namely, the touching, collecting, and grasping of small, often highly personal, and ostensibly quotidian objects. From John’s glass collection in Woolf’s “Solid Objects,” Peter Walsh’s stroking of his pocket-knife in Mrs. Dalloway, Miriam’s frenzied absorption with flowers in Lawrence’s Sons and Lovers, to Laura’s fiddling of her glass menagerie in Tennessee Williams’s eponymous play, fidgeting (...) in modernist literature and drama reveals a particular tendency of not just characters’ possession of things but also their possession by things. This phenomenon, I argue, allows characters to practice care as they withdraw from oppressive narratives of normalcy and (economic and biological) productivity, challenging their exclusionary and othering configurations. My paper looks at fidgeting in The Glass Menagerie as a part of this larger ideological and haptic orientation in modernist literature. The care invested by Laura in her intimate relationship with these “playthings” allows her to intercept not only male narrativizing forces and articulation of herself but also the rhetoric of productivity that circulates both within the play and in the larger economic backdrop of post-depression America. My paper attempts to foreground these objects of care in our readings of the play and modernist texts in general and, in so doing, highlight their importance as lenses of analysis that render visible alternate forms of agency and resistance. Lastly, it attempts to reframe fidgeting as an act of embodied refusal, evoking the radical potential of refusal within feminist and disability studies. (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)

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)

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)

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.

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.

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.

Almost two years ago I reviewed The Triumph and Tragedy of the Intellectuals by Harry Redner in these pages; Redner, in turn, around much the same time had reviewed a book by Beibei Guan and myself...

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

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)

This article marks a decisive step towards the recovery of the French woman writer, journalist, and aviation pioneer Louise Faure-Favier, who today is virtually forgotten. The article begins by sit...

本书从市场失败出发,越出经济学的范畴,以超越现代性的视角,重新评估并构建了经济伦理学。阐明了道德失败同市场与政府失败构成广义经济学的三大失败,美德机制和良知具有超越一般价值取向和规范的意义。.

_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)