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)

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)

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.

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.

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

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.

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)

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 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)

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)

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)

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)

Through analysing different case studies in the Middle East, this section uses rooted cosmopolitanism as a theoretical lens to explore exported modernism and architecture between socialist and capitalist countries during the Cold War. This research analyses the circulation and local applications of urban development and modernisation paradigms in so-called ‘Third World’ countries. For assessing the socialist and capitalist-inspired modernisation processes in the Middle East, this chapter studies the cosmopolitan and trans-cultural architecture created by global and local influences. Comparing two (...) types of cosmopolitan architecture (socialist and capitalist) during the Cold War period in third-world contexts will help us to analyse and compare their relative rootedness and to learn from the interconnected, multifaceted, and multilayered planning transfers and architectural exportations. (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.

Explores and illuminates Roland Barthes' profound impact on our understanding of literary modernism.

Explores and illuminates Kristeva's profound impact on our understanding of literary modernism.

Explores and articulates Jean-Luc Nancy's profound impact on our understanding of artistic and literary modernism.

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)

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)

Robert Brain traces the origins of artistic modernism to specific technologies of perception developed in late-nineteenth-century laboratories. Brain argues that the thriving fin-de-siècle field of “physiological aesthetics,” which sought physiological explanations for the capacity to appreciate beauty and art, changed the way poets, artists, and musicians worked and brought a dramatic transformation to the idea of art itself.

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

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)

Introduction. Modernism as a culture -- Culture and cognition -- Culture, mythology, politics -- Culture, community, cartography -- Cultural spaces and their travelers -- The toponymical labyrinth of Russian modernist culture. Early Russian modernism and its "isms" ; The Russian domestication of the term Modernism ; New names, old problems ; Politics and cultural toponymy ; Naming the field -- The errant compass rose of Russian modernist studies. Realism as a cardinal direction ; Tradition and innovation as (...) cardinal directions -- Russian modernism in time and space. The myth of 1917 ; Culture and border patrol ; Putting late Russian modernism on the map ; Chronologies of Russian modernism -- Navigating Russia's cultures of modernity. The intelligentsia and the two avant-gardes ; The two avant-gardes and mass culture -- Russian modernism in the cultural market. The economics of Russian cultural modernity ; The formalist writer-type and the evolving institution of authorship ; The political economy of Russian modernism -- Conclusion. (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)

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)

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)

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 volume proposes an in-depth exploration of the materiality of art and writing in modernism and the avant-garde. The essays explore how the avant-gardes and modernism attempted to establish the material specificity and hybridityof media and art forms. The collection sheds light on the full range and import of the aesthetics of matter in avant-garde and modernist practice across all art forms from the 19th century to the present day.

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.

Like other major modernist writers, Adorno sets himself against modern social formations, understood as deadening and evacuated of meaning. In Minima Moralia, he makes emphatic use of distinctively modernist literary techniques within philosophy as a form of writing. In focusing on particular circumstances of trauma and epiphany, he seeks to disclose in images the hollowness of modern life and to gesture toward life otherwise.

This title covers the movements, concepts and figures associated with European modernism. This Dictionary is the first to gather, delineate and make accessible the literary, artistic, critical, cultural and political practices that we associate with Modernism. It provides a wide ranging resource both to the canon of "High Modernism" and to current theoretical perspectives that have contributed to the renewed interest in Modernism and have lent it renewed range and critical rigour in the early twenty-first century. (...) A team of current experts in the field provide clear and fully contextualised definitions of key terms, concepts, texts, movements, practitioners, as well as influential critical views and legacies. The entries cover Anglophone Modernism as well as giving full attention to significant figures, ideas and movements in European, North and South American culture and to influences from non-Western cultures. The Dictionary can be used either as a companion to the editors' successful Modernism: An Anthology of Sources and Documents or as a stand alone reference work and provides both new researchers and experienced scholars with a thorough and up-to-date guide to this vibrant field. It comprises authoritative entries written by a dedicated team of experts in the field. It is a timely and rich addition to the resources available to students and scholars of a subject currently in great demand throughout the English-speaking world. With its chronological and thematic scope and comprehensive coverage, the Dictionary is set to become the definitive work of reference in the field. (shrink)

Bringing together 20 foundational texts in contemporary modernist criticism in one accessible volume, this book explores the debates that have transformed the field of modernist studies at the turn of the millennium and into the 21st century. The New Modernist Studies Reader features chapters covering the major topics central to the study of modernism today, including: Feminism, gender and sexuality; Empire and race; Print and media cultures; Historical and geographical debates. Each text includes an introductory summary of its historical (...) and intellectual contexts, as well as guides to further reading to help students and teachers explore the ideas further. Includes essential texts by leading critics such as: Pascale Casanova, Anne Anlin Cheng, Brent Hayes Edwards, Rita Felski, Susan Stanford Friedman, Mark Goble, Miriam Hansen, Andreas Huyssen, David James, Fredric Jameson, Heather K. Love, Douglas Mao, Mark S. Morrisson, Michael North, Jessica Pressman, Lawrence Rainey, Paul K. Saint-Amour, Bonnie Kime Scott, Urmila Seshagiri, Robert Spoo, and Rebecca Walkowitz. (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)

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)

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.

Modernism in legal theory is no different from modernism in the arts: both respond to a cultural crisis, a sense that institutions and traditions have lost their validity. Some doubt the importance of the rule of law, others question the objectivity of legal reasoning. We have lost confidence in the justice of our legal institutions, and even in our very capacity to identify justice. Legal philosopher David Luban argues that we cannot escape the modernist predicament. Accusing contemporary legal (...) theorists of evading rather than confronting the challenge of modernity, he offers important and original objections to pragmatism, traditionalism, and nihilism. He argues that only by weaving together the broken narrative and forgotten voices of history's victims can we come to appreciate the nature of justice in modern society. Calling a trial the embodiment of the law's self-criticism, Luban demonstrates the centrality of narrative by analyzing the trial of Martin Luther King, the Nuremberg trials, and trial scenes in Homer, Hesiod, and Aeschylus. With these examples, Luban explores several of the tensions that motivate much more contemporary legal theory: order versus justice, obedience versus resistance, statism versus communitarianism. "... an illuminating account of how contemporary legal theory can be understood as an expression of 'the modernist predicament' by exploring the analogy between modernism in the arts and modernism in law, politics, and philosophy.... a valuable critical discussion of modern legal theory." --Choice David Luban is Morton and Sophia Macht Professor of Law at the University of Maryland and Research Scholar at the Institute for Philosophy and Public Policy. His other books include Lawyers and Justice: An Ethical Study. (shrink)

Modernist Architecture and Ruins: On Ruins as a Minus, Neoclassicism and the Uncanny.

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)

Maurice Blanchot occupies a central though still-overlooked position in the Anglo-American reception of 20th-century continental philosophy and literary criticism. On the one hand, his rigorous yet always-playful exchanges with the most challenging figures of the philosophical and literary canons of modernity have led thinkers such as Georges Bataille, Emmanuel Levinas, Jacques Derrida, and Michel Foucault to acknowledge Blanchot as a major influence on the development of literary and philosophical culture after World War II. On the other hand, Blanchot's reputation for (...) frustrating readers with his difficult style of thought and writing has resulted in a missed opportunity for leveraging Blanchot in advancing the most essential discussions and debates going on today in the comparative study of literature, philosophy, politics, history, ethics, and art. Blanchot's voice is simply too profound, too erudite, and too illuminating of what is at stake at the intersections of these disciplines not to be exercising more of an influence than it has in only a minority of intellectual circles. Understanding Blanchot, Understanding Modernism brings together an international cast of leading and emergent scholars in making the case for precisely what contemporary modernist studies stands to gain from close inspection of Blanchot's provocative post-war writings. (shrink)

This book reconsiders the meaning of modernism across the globe, stretching beyond both the Western modernist canon and the literary-heavy scope of the field to a broader cultural consideration of global modernisms and modernity. Through the use of masks as a thematic focus, the volume challenges popular assumptions about what modernism looks like, what modernity is, and how each of these ideas are produced within a historical moment.

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...