_Modernism as a Philosophical Problem, 2e_ presents a new interpretation of the negative and critical self-understanding characteristic of much European high culture since romanticism and especially since Nietzsche, and answers the question of why the issue of modernity became a philosophical problem in European tradition.

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)

The similarities between madness and modernism are striking: defiance of convention, nihilism, extreme relativism, distortions of time, strange transformations of self, and much more. In this revised edition of a now classic work, Louis Sass, a clinical psychologist, offers a radically new vision of schizophrenia, comparing it with the works of such artists and writers as Kafka, Beckett, and Duchamp, and considering the ideas of philosophers including Nietzsche, Heidegger, Foucault, and Derrida. Here is a highly original portrait of the (...) world of insanity, along with a provocative commentary on modernist and postmodernist culture. (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)

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)

. 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.

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)

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.

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)

_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)

A critique and defense of modern legal theory.

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.

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

Foucault appears to challenge traditional views of truth, reason, and knowledge in the doctrine of power/knowledge developed in his post?1970 writings. This doctrine applies to all the sciences (and to non?scientific and non?discursive practices that are not discussed here). Foucault's notions of discourse (1) and power (3) are sufficiently discussed to set out his explanatory theory of the cause of our discourses and their change. In (4) three theses concerning the power/knowledge link are distinguished, of which the more important is (...) called the ?Primacy Thesis?, namely the causal priority of power over knowledge. Various formulations of this thesis are investigated, some of which are contrasted with Francis Bacon's more plausible account of the link between power and knowledge. In (5), six criticisms of the thesis are discussed. Foucault's notion of truth is explored on the way, more particularly in (6). The outcome of the discussion is that Foucault's doctrine of power/knowledge, apart from some insights for an empirically based sociological investigation into the causes of some of our scientific beliefs, is generally false; for philosophical theories of truth and knowledge it has nothing to say. In fact if Foucault is to be a critic of the beliefs which circulate as a result of power, he needs the traditional account of truth and knowledge. (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.

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.

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

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)

‘Reactionary modernism’ is a term happily coined by the historian and sociologist Jeffrey Herf to refer to a current of German thought during the interwar years. It indicates the attempt to ‘reconcil[e] the antimodernist, romantic and irrationalist ideas present in German nationalism’ with that ‘most obvious manifestation of means–ends rationality … modern technology’. Herf's paradigm examples of this current of thought are two best-selling writers of the period: Oswald Spengler, author of the massive domesday scenario The Decline of the (...) West in 1917 and, fifteen years later, of Man and Technics, and Ernst Jünger, the now centenarian chronicler of the war in which he was a much-decorated hero, whose main theoretical work was Der Arbeiter in 1932. The label is also applied by Herf to such intellectual luminaries as the legal theorist and apologist for the Third Reich, Carl Schmitt, and more contentiously Martin Heidegger. At a less elevated level, reactionary modernism also permeated the writings of countless, now forgotten engineers, who were inspired at once by the new technology, Nietzschean images of Promethean Übermenschen, and an ethos of völkisch nationalism. (shrink)

Women, Modernism, and Performance is an interdisciplinary 2004 study that looks at a variety of texts and modes of performance in order to clarify the position of women within - and in relation to - modern theatre history. Considering drama, fiction and dance, as well as a range of performance events such as suffrage demonstrations, lectures, and legal trials, Penny Farfan expands on theatre historical narratives that note the centrality of female characters in male-authored modern plays but that do (...) not address the efforts of women artists to develop alternatives both to mainstream theatre practice and to the patriarchal avant garde. Focusing on Henrik Ibsen, Elizabeth Robins, Ellen Terry, Virginia Woolf, Djuna Barnes, Edith Craig, Radclyffe Hall and Isadora Duncan, Farfan identifies different objectives, strategies, possibilities and limitations of feminist-modernist performance practice and suggests how the artists in question transformed the representation of gender in art and life. (shrink)

Modernism can be characterised by the acute attention it gives to language, to its potential and its limitations. Philosophers, artists and literary critics working in the first third of the twentieth century emphasized language’s creative potential, but also stressed its inability to express meaning completely and accurately. In particular, modernists shared the belief that the kind of truth _sub specie aeterni_ that was sought by philosophers was either meaningless or was more appropriately expressed by the arts – especially by (...) literature and poetry. _Modernism and the Language of Philosophy_ addresses the challenge this belief presented to philosophy, and argues that the modernist assumption rests upon a host of unacknowledged, repressed or denied dogmas or tacit images. Drawing in particular upon the work of Michale Dummett and Jacques Derrida, this book explores a new solution to this crisis in philosophical language, and it is these two philosophers who drive the narrative of the book and offer perspectives through which both past and present day philosophers are examined. (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 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)

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)

Exploring legal treatises, court decisions, political illustrations, photographs, and modernist literature, this volume reveals that the ambiguous status of corporate intention in the first half of the twentieth century provoked conflicting theories of meaning and interpretation still debated today.

In The Origins of Totalitarianism, Hannah Arendt diagnosed three symptoms for the post-revolutionary, post-Enlightenment age ending in totalitarianism: 1) the obliteration of the possibility for action, i.e. for freedom; 2) the destruction of experience; and 3) the annihilation of the meaning of death. This essay tries to draw out what such Zeitdiagnose implies. I argue that for Arendt, it is not only the genuinely political that suffers irredeemably at the political as well as the societal levels of totalitarianism, but as (...) an internal correlate, the genuinely historical as well. By analyzing how the shapes of the historical metamorphosed for Arendt from Greco-Roman antiquity to Christianity, through Kant, Hegel, Marx and Nietzsche, I want to show that 1) the political modernism of Hannah Arendt carries within it a “historical modernism” and 2) such historical modernism re-embeds the present age within the Age of History by virtue of a critical distancing and a tiger’s leap into the past. (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)

This article is about a period of technology transfer – the late 1910s and 1920s – when wartime aerial reconnaissance techniques and operations were being adapted to a range of civilian uses, including urban planning, land use analysis, traffic control, tax equalization, and even archaeology. At the center of the discussion is the ‘photomosaic’: a patchwork of overlapping aerial photographs that have been rectified and fit together so as to form a continuous survey of a territory. Initially developed during the (...) First World War to provide coverage of fronts, photomosaic mapping was widely practiced and celebrated during the postwar years as an aid to urban development. The article traces both the refinements in photomosaic technology after the Armistice and the rhetorical means by which the form’s avant-garde wartime reputation was domesticated into an ‘applied realism’ that often effaced its site-specific perspective, its elaborately rectified optics, and the oppositionality of both its military and civilian uses. The article has a broader theoretical aim as well. Classic statements of both structuralist and post-structuralist spatial theory have produced an ossified geometry wherein the vertical is the axis of paradigm, top-down strategy, and manipulative distance and the horizontal the axis of syntagm, grassroots tactics, and resistant proximities and differences. In its close study of the technology and rhetoric surrounding interwar photogrammetry, the article provides an example of how one might reverse the long-standing misrecognition of high-altitude optics as effacing time, difference, and materiality – and what it might mean to view such optics as, instead, a resource in turning from abstract toward differential conceptions of both aerial photography and our theoretical habits. This turn I call ‘applied modernism’, a term that accesses both the wartime photomosaic’s affiliation with avant-garde painting and its insistence that portraits of the total are always projections from partial, specific vantages. (shrink)

Pragmatic Modernism traces an alternative strain of modernism influenced by pragmatist philosophy and characterized by its commitment to gradualism, continuity, and habit rather than spectacular events and radical rupture. Through original readings of Gertrude Stein, Henry James, Marcel Proust, and Oliver Wendell Holmes, Jr., this study rediscovers an overlooked cultural and social matrix and suggests an expanded range of responses to modernity.

Pragmatic Modernism traces an alternative strain of modernism influenced by pragmatist philosophy and characterized by its commitment to gradualism, continuity, and habit rather than spectacular events and radical rupture. Through original readings of Gertrude Stein, Henry James, Marcel Proust, and Oliver Wendell Holmes, Jr., this study rediscovers an overlooked cultural and social matrix and suggests an expanded range of responses to modernity.

By the author of Adorno's Aesthetics of Music. This book consists of four sections: critical theory and music; Adorno's aesthetics of modernism; Adorno, popular music and mass culture; and critical reflections on Adorno.

Just as becoming-woman is a divided concept, looking back to a seemingly redemptive figure of the feminine beyond rigid being, but also forward to a positive annihilation of fixed genders, so modernism was also a doubled movement. But modernism was a pulverisation of ‘the’ subject for the sake of a plural and multiplying point of view, and like ‘becoming-woman’, should be read as a defiant and affirmative refusal.

'Modernity' has come to refer both to a contested historical category and to an even more contested philosophical and civilisational ideal. In this important collection of essays Robert Pippin takes issue with some prominent assessments of what is or is not philosophically at stake in the idea of a modern revolution in Western civilisation, and presents an alternative view. Professor Pippin disputes many traditional characterisations of the distinctiveness of modern philosophy. In their place he defends claims about agency, freedom, ethical (...) life and modernity itself, all of which are central to the German idealist philosophical tradition, and in particular, to the writings of Hegel. Having considered the Hegelian version of these issues the author explores other accounts as found in Habermas, Strauss, Blumenberg, Nietzsche, and Heidegger. (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.

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)

When discussing the changing sense of reality around 1900 in the cultural arts the lexicon of early modernism reigns supreme. This essay contends that a critical condition for the possibility of many of the turn of the century modernist movements in the arts can be found in exchange of instruments, concepts, and media of representation between the sciences and the arts. One route of interaction came through physiological aesthetics, the attempt to ‘elucidate physiologically the nature of our Aesthetic feelings’ (...) and explain how works of art achieve their effects. Physiological aesthetics provided the terms for new formalist languages of art and criticism, and in some instances suggested optimistic, even utopian, possibilities for art to remake human individuals and societies.Keywords: Physiology; Psychology; Evolution; Aesthetics; Modernism; Art history. (shrink)

Purity -- Modern silence -- The fragmentary -- Lament -- Sonic flux.