Zeitschriftenartikel: „Modernity“

1

Watts, Philip. „Modernism/Modernity“. South Central Review 14, Nr. 3/4 (1997): 110. http://dx.doi.org/10.2307/3190215.

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2

Torrance, Robert M., und Donald Keene. „Modernism and Modernity“. Journal of the Association of Teachers of Japanese 22, Nr. 2 (November 1988): 195. http://dx.doi.org/10.2307/488942.

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3

Schnapp, Jeffrey T. (Jeffrey Thompson), Michael Shanks und Matthew Tiews. „Archaeology, Modernism, Modernity“. Modernism/modernity 11, Nr. 1 (2004): 1–16. http://dx.doi.org/10.1353/mod.2004.0024.

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4

Khair, Tabish. „Modernism and modernity“. Third Text 15, Nr. 55 (Juni 2001): 3–13. http://dx.doi.org/10.1080/09528820108576910.

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5

Antliff, Mark. „Fascism, Modernism, and Modernity“. Art Bulletin 84, Nr. 1 (01.03.2002): 148–69. http://dx.doi.org/10.1080/00043079.2002.10787015.

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6

Antliff, Mark. „Fascism, Modernism, and Modernity“. Art Bulletin 84, Nr. 1 (März 2002): 148. http://dx.doi.org/10.2307/3177257.

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7

Thacker, Andrew. „Travel, modernism and modernity“. Studies in Travel Writing 22, Nr. 2 (03.04.2018): 232–33. http://dx.doi.org/10.1080/13645145.2018.1515708.

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8

MILBANK, JOHN. „SCHOLASTICISM, MODERNISM AND MODERNITY“. Modern Theology 22, Nr. 4 (Oktober 2006): 651–71. http://dx.doi.org/10.1111/j.1468-0025.2006.00338.x.

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9

Smith, Terry. „Modernism, Modernity and Otherness“. Australian Journal of Art 13, Nr. 1 (Januar 1996): 144–66. http://dx.doi.org/10.1080/03146464.1996.11432846.

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10

Walker, Shauna. „Gothic Modernisms: Modernity and the Postcolonial Gothic in Tayeb Salih's Season of Migration to the North“. Gothic Studies 22, Nr. 3 (November 2020): 285–99. http://dx.doi.org/10.3366/gothic.2020.0062.

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This article discusses the intersection between modernism and the Gothic, interrogating the conventional periodisation of modernism and extending the scope of both modernist and gothic studies. I propose that Tayeb Salih's Season of Migration to the North is a response to Sudanese postcolonial modernity through the mode of Gothic modernism. The modern Gothic is symptomatic of the contradictions fundamental to modernity as the ‘regressive’ past continues to haunt the ‘progressive’ present. I extend my discussion of modernism, modernity and the Gothic to debates around the postcolonial Gothic, considering the various ways in which the uncanny and gothic doubling are paradigmatic of the postcolonial experience. Tayeb Salih's novel is a departure from hegemonic conceptualisations of modernity and modernism, using the Gothic to critique Western metanarratives of historical linearity, progress and modernisation.

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11

Wolff, J. „Modernism, Modernity and English Art“. Oxford Art Journal 21, Nr. 2 (01.01.1998): 199–202. http://dx.doi.org/10.1093/oxartj/21.2.199.

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12

Toosi, Javad Fakhkhar. „A Model for Reconciling Islamic Teachings with the Intellectual and Scientific Achievements of Modernity“. ICR Journal 10, Nr. 2 (15.12.2019): 264–79. http://dx.doi.org/10.52282/icr.v10i2.46.

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The current article seeks to present a model that reconciles Islamic teachings with the intellectual and scientific achievements of modernity. It attempts to develop a model that systematises the discourse on Islam and modernity while preserving its Islamic identity using qualitative methods. Thus, this article introduces a model called ‘moderate Islamic modernism’. This model does not acknowledge the achievements of modernity in their entirety, but only those intellectual and scientific achievements that are free from certain bias elements. This article will first distinguish between the proposed moderate model and that of ‘extreme Islamic modernism’. Secondly, this article compares the model with ‘Islamic traditionalism’. In brief, the proposed moderate model advocates the reconciliation of Islamic teachings with the intellectual and scientific achievements of modernity, as well as reforming the traditional method. The article concludes that the ‘moderate Islamic modernism’ approach to modernity and its rational elements not only provides a theoretical solution but is also compatible with genuine Islamic teachings. It is hoped that the two methods proposed by the model, particularly its method for differentiating elements within modernity, and its new approach on Islamic studies, will benefit future research on the subject matter.

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13

Moussaoui, Abderrahmane. „Islam et modernité / Islam and Modernity“. Studia Islamica 115, Nr. 2-3 (21.12.2020): 258–65. http://dx.doi.org/10.1163/19585705-12341427.

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14

Kolland, Daniel. „Global Performances of a Belated Concept“. Cromohs - Cyber Review of Modern Historiography, Nr. 26 (04.06.2024): 95–113. http://dx.doi.org/10.36253/cromohs-14516.

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This article uses a global concept history approach to critically engage with the semantically overdetermined and contested concept of modernity at the turn of the twentieth century. Eschewing grand theories, a more empirical method is applied by investigating the history of modernity as a concept used by historical actors. It thereby seeks to reveal anachronistic readings of it, as well as unearth the global scope of modernity performances. Tracing first West-European and then Ottoman-Turkish modernity translations (modernité, die Moderne, modernity, yeñilik, ʿaṣrīlik), the article shows how marginal this concept was in West-European discourse. The Turkish translations, in contrast, became central in indigenous reform rhetoric; ʿaṣrīlik (1916) even displayed a level of theoretical abstraction that West-European modernity concepts only acquired later. This analysis argues that the global circulation of the historical modernity concept was propelled by its semantic indeterminacy, normativity, and Eurocentrism, and thereby also critique modernity as an analytical concept.

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15

Meschonnic, Henri, Gabriella Bedetti und Alice Otis. „Modernity Modernity“. New Literary History 23, Nr. 2 (1992): 401. http://dx.doi.org/10.2307/469243.

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16

Koslowski, Peter. „Razón e historia. La modernidad del postmodernismo“. Anuario Filosófico 27, Nr. 3 (04.10.2018): 969–89. http://dx.doi.org/10.15581/009.27.29838.

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The paper distinguishes between a free form of modernity and an ideological form of modernity, whereby the latter can also be called modernism. Free modernity aims at realising the modern, i.e. that which responds to the needs of the present and realises what corresponds to the state-of-the-art. Modernism as an ideology, however, believes in "the" ultimate modernism, in one final modern age of reason. The modernist Hegelian and Marxist philosophies of history and of dialectical metaphysics have come to an end. It demonstrates that we are living in a post-modern age that gives a new freedom for the Christian interpretation of history and for the theological and personalist form of metaphysics.

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17

Ferrer, Albert. „From post-modernism to modernity again. From modernity to a paradigm shift“. Educational Philosophy and Theory 50, Nr. 14 (25.11.2018): 1428–29. http://dx.doi.org/10.1080/00131857.2018.1458800.

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18

van Eijnatten, Joris, Ed Jonker, Willemijn Ruberg und Joes Segal. „Shaping the Discourse on Modernity“. International Journal for History, Culture and Modernity 1, Nr. 1 (28.03.2013): 3–20. http://dx.doi.org/10.5117/hcm2013.1.eijn.

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In this opening article, the editors of History, Culture and Modernity provide an overview of recent debates relating to “modernity”, inviting prospective authors to participate in a reflexive conversation on this contested concept, which is, at the same time, a practical reality. Modernity is on endless trial, suggesting evaluation and permanent criticism. The most disputed aspects of modernity range from its supposedly secular character and its strong connection to western science. Responses to these and other conspicuous features of modernity include Romanticism and various critiques of Enlightenment rationality, but also artistic modernism and the postcolonial attack on Eurocentrism. New approaches to the study of modernity try to accept its ambiguity, rather than reaffirm the conventional binary approach, and pay more attention to global and experiential aspects. A cultural history of modernity can help to expand such new approaches.

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19

Singer, B. „Introduction: Modernism, Modernity, and the Senses“. Monatshefte XCVIII, Nr. 2 (01.06.2006): 175–79. http://dx.doi.org/10.3368/m.xcviii.2.175.

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20

Harpin, Tina. „Modernism/Modernity, vol. 13, no 3“. Itinéraires, Nr. 2009-3 (01.11.2009): 192–96. http://dx.doi.org/10.4000/itineraires.572.

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21

Elizabeth Wolde Giorgis. „Charting Out Ethiopian Modernity and Modernism“. Callaloo 33, Nr. 1 (2010): 82–99. http://dx.doi.org/10.1353/cal.0.0627.

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22

Berry, Francesca. „Modernity, Modernism and Sexual Difference, Again“. Oxford Art Journal 30, Nr. 2 (01.06.2007): 327–34. http://dx.doi.org/10.1093/oxartj/kcm001.

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23

Hong, Jeesoon. „Modernism and Modernity in Republican China“. Journal of Modern Chinese Literature 88 (31.01.2019): 149–73. http://dx.doi.org/10.46487/jmcl.2019.01.88.149.

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24

Araeen, Rasheed. „Modernity, Modernism and Africa’s Authentic Voice“. Third Text 24, Nr. 2 (März 2010): 277–86. http://dx.doi.org/10.1080/09528821003722272.

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25

Fehskens, Matthew Thomas. „The Contact Zones of Modernista Travel Literature: Modernism, Modernity, and the Hispanic Atlantic“. Hispanófila 171, Nr. 1 (2014): 303–19. http://dx.doi.org/10.1353/hsf.2014.0043.

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26

Jianjiang, Wang. „Where is Bie-Modern Going? Responding to Professors who study Bie-modern Theories“. Asian Journal of International Affairs 1, Nr. 1 (31.12.2021): 55–65. http://dx.doi.org/10.3126/ajia.v1i1.44752.

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“Bie-modern” is a theory about social form. It refers to “doubtful modernity” or pseudo modernity, manifested in the hybridity of the modern, pre-modern and post-modern. At present, Bie-modern theory is applied in philosophy, aesthetics, literature, linguistics, art, design, psychology, tourism, law, economics, and Human-Computer Interaction. Bie-modernism is to seek the direction of future development in the mixed society and to reduce human misjudgments and errors on the way forward. Therefore, it is the priority of Bie-modernism to distinguish between truth and falsehood. Where is Bie-modern going? Firstly, we shall leave the ambiguity of the word “Bie”, to distinguish the difference between Bie-modernism and “plural modernity”, to distinguish true and false modernity, to distinguish the difference between Bie-modernism and modernism and post-modernism. Secondly, towards authenticity, to seek the truth and reality and implement the real modernity. Thirdly, we will be implementing life equity/life stocks, an inherent right to life of every individual, and the share that the right to life holds in the total wealth of society that cannot be deprived, transferred for the whole of their life, that means the right to enjoy free medical care, free education, free old-age pension, and the right to food, clothing, housing, and transportation. To realize human life equity/life stocks, the historical mission of society lies in eliminating the proletariat rather than the bourgeoisie. Life equity/life stocks is a primitive and real right, which is not influenced by acquired ideas and has the most irreplaceable dignity and value of life. Life equity/life stocks are closely related to human well-being and aesthetic feeling, and it has become the source of both. Lastly, we will be upholding “Bie”, the distinguishing, to the end through entering the ideological market and keeping authenticity, implementing life equity/life stocks, and the Great-leap-forward Pause of Bie-modernism. At present, Bie-modernism has rippled in the United States and the European Union. In the future, we will bring it to more countries and regions. The future development of Bie-modernism will focus on returning to the origins and implementing life equity/life stocks.

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27

Lee, Raymond L. M. „MODERNITY, ANTI-MODERNITY AND POST-MODERNITY IN MALAYSIA“. International Sociology 7, Nr. 2 (Juni 1992): 153–71. http://dx.doi.org/10.1177/026858092007002003.

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28

Vido, Roman. „Náboženství a modernita v současné sociologii náboženství“. Sociální studia / Social Studies 5, Nr. 3-4 (01.10.2008): 27–51. http://dx.doi.org/10.5817/soc2008-3-4-27.

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Článek se zabývá otázkou vztahu mezi modernitou a náboženstvím. Klasické sekularizační teorie předpokládaly, že s příchodem modernity ztrácí (tradiční) náboženství svůj společenský vliv a význam stejně jako dopad na životy moderních jedinců. Toto tvrzení se stalo známým jako "sekularizační teze". Nicméně empirická realita nepotvrdila takové proroctví: náboženství nadále představuje důležitý prvek v sociálním světě. Sociologové náboženství byli nuceni přehodnotit své teoretické představy a koncepty a přiznat, že dopad modernity na náboženství může být složitější a víceznačnější, než tvrdili jejich předchůdci. Text uvádí několik autorů, kteří se zabývají teoretickými úvahami o osudu náboženství v modernitě a kteří sdílejí přesvědčení o schopnosti modernity vytvářet své vlastní specifické formy náboženství, odlišné od těch tradičních.

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29

Terian, Andrei. „Faces of modernity in romanian literature: a conceptual analysis“. Alea : Estudos Neolatinos 16, Nr. 1 (Juni 2014): 15–34. http://dx.doi.org/10.1590/s1517-106x2014000100002.

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This study analyses the manner in which Romanian criticism chose to define and outline literary modernity. From this point of view, I have highlighted a series of deficiencies in the aforementioned endeavors, among which the reductive vision on modernism, which is limited either to a strictly formal meaning (as literary technique) or to a substantial one (as ideological attitude), the emergence of a non-differentiated concept of modernism, which tends to embrace any secondary effects or, on the contrary, of a generic anti-modernism, irrespective of the level or the direction in which it opposes modernism. Therefore, the present study sets forth a new classification of Romanian literary modernity, which includes, besides modernism, an anti-modernist direction and an ultra-modernist one also.

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30

Cavcic, Antonija. „Modernism and Modernity in British Women’s Magazines“. European Journal of Communication 36, Nr. 1 (Februar 2021): 92–94. http://dx.doi.org/10.1177/0267323120987120.

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31

Chen, Huafei. „Rethinking Modernism and Modernity: A Dance Approach“. Dance Chronicle 44, Nr. 2 (04.05.2021): 182–86. http://dx.doi.org/10.1080/01472526.2021.1927433.

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32

Kaščáková, Janka. „Modernism vs. modernity: Katherine Mansfield as critic“. Brno studies in English, Nr. 2 (2016): [5]—19. http://dx.doi.org/10.5817/bse2016-2-1.

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33

Solomon, William. „Slapstick Modernism: Charley Bowers and Industrial Modernity“. Modernist Cultures 2, Nr. 2 (Oktober 2006): 170–88. http://dx.doi.org/10.3366/e2041102209000264.

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William Solomon (SUNY-Buffalo) asks us how vernacular and avant-garde comic practice might function as twinned responses to standardised mass-production and the rationalisation of the workplace. Returning us to the recently rediscovered comic films of Charley Bowers - a pioneer of animated silent film and a proto-surrealist bricoleur lionised by André Breton, Solomon demonstrates how Bowers' absurd machinic assemblages “generate laughter at the expense of the ethos of productive rationalism, in the process of opening up an alternative understanding of machinery as the locus of exuberantly unsettling bursts of joy”.

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34

Alfred J. López. „Geomodernisms: Race, Modernism, Modernity (review)“. MFS Modern Fiction Studies 54, Nr. 2 (2008): 454–57. http://dx.doi.org/10.1353/mfs.0.0015.

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35

Whitney, Tyler. „Literary Recordings: Modernism, Media, and Acoustic Modernity“. Modernism/modernity 27, Nr. 4 (2020): 847–51. http://dx.doi.org/10.1353/mod.2020.0055.

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36

Fekadu-Uthoff, Sarah. „Travel, Modernism and Modernity. Farnham: Ashgate, 2015“. Zeitschrift für Anglistik und Amerikanistik 66, Nr. 4 (19.12.2018): 482–86. http://dx.doi.org/10.1515/zaa-2018-0040.

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37

SLOBIN, GRETA N. „MODERNISM/MODERNITY IN THE POST-REVOLUTIONARY DIASPORA“. Canadian-American Slavic Studies 37, Nr. 1-2 (2003): 57–70. http://dx.doi.org/10.1163/221023903x00477.

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38

Ware, Ben. „Wittgenstein, modernity and the critique of modernism“. Textual Practice 27, Nr. 2 (März 2013): 187–205. http://dx.doi.org/10.1080/0950236x.2012.721384.

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39

Harrington, Thomas S. „Modernism and modernity in the Mediterranean world“. Mediterranean Historical Review 24, Nr. 1 (Juni 2009): 55–57. http://dx.doi.org/10.1080/09518960903036672.

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40

Van Alphen, Ernst. „Attention for Distraction: Modernity, Modernism and Perception“. Text Matters, Nr. 7 (16.10.2017): 87–97. http://dx.doi.org/10.1515/texmat-2017-0005.

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Particularly in the latter half of the nineteenth century sensorial experiences changed at breakneck speed. Social and technological developments of modernity like the industrial revolution, rapid urban expansion, the advance of capitalism and the invention of new technologies transformed the field of the senses. Instead of attentiveness, distraction became prevalent. It is not only Baudelaire who addressed these transformations in his poems, but they can also be recognized in the works of novelist Gustave Flaubert and painter Edward Munch. By means of the work of William James, Walter Benjamin, Siegfried Kracauer and Georg Simmel, the repercussions of this crisis of the senses for subjectivity will be discussed.

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41

Bell, Daniel. „Resolving the contradictions of modernity and modernism“. Society 27, Nr. 3 (März 1990): 43–50. http://dx.doi.org/10.1007/bf02695538.

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42

Griffin, Roger. „Modernity, modernism, and fascism. A "mazeway resynthesis"“. Modernism/modernity 15, Nr. 1 (2008): 9–24. http://dx.doi.org/10.1353/mod.2008.0011.

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43

Andrea L. Volpe. „Modernity, Modernism, and the Aesthetics of Illumination“. Reviews in American History 37, Nr. 4 (2009): 597–604. http://dx.doi.org/10.1353/rah.0.0138.

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44

Young, Paul. „Peripheralizing Modernity: Global Modernism and Uneven Development.“ Literature Compass 9, Nr. 9 (September 2012): 611–16. http://dx.doi.org/10.1111/lic3.12005.

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45

Matthews, J. T. „Globalizing the U.S. South: Modernity and Modernism“. American Literature 78, Nr. 4 (01.12.2006): 719–22. http://dx.doi.org/10.1215/00029831-78-4-719.

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46

Wee, C. J. W. L. „Tropical Modernism(s), Miscegenated Art and Modernity“. Southeast of Now: Directions in Contemporary and Modern Art in Asia 8, Nr. 1 (März 2024): 127–39. http://dx.doi.org/10.56159/sen.2024.a924619.

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Abstract: Tropical: Stories from Southeast Asia and Latin America opened on 18 November 2023 and ran at the National Gallery Singapore (NGS) until 24 March 2024. NGS’s website states that the exhibition is “the first large-scale museum exhibition to take a comparative approach across two regions united by their shared struggles against colonialism”, comprising over 200 paintings, sculptures, prints and installations. The exhibition proceeds not always via direct formal or informal engagements between artists but by “an alchemy of shared narratives” (Teo Hui Min). Tropical endeavours to complicate the essential link between modernism and modernity by reflecting on how the “accursed European and American influence” is “absorbed” (Hélio Oiticica) into the local and indigenous, resulting in what might be called miscegenated art .

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47

Flynn, Bernard. „Modernity as a philosophical problem“. Chiasmi International 22 (2020): 399–412. http://dx.doi.org/10.5840/chiasmi20202235.

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The title of this paper makes an obvious reference to Pippin’s book Modernism as a Philosophical Problem. The paper is divided into three parts. The first part presents Pippin’s conception of Modernity, why it is a philosophical problem, and how two philosophers have responded to it, namely, Kant and Hegel whose position in an attenuated manner Pippin supports. The second part evokes dimensions of Merleau-Ponty’s thought which contest Pippin’s Hegelianism. The third part of the paper offers a different conception of Modernity drawn from the work of Claude Lefort. Lefort’s understanding of Modernity avails itself of aspects of Merleau-Ponty’s philosophy, in particular: Hyper-reflection and Institution.

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48

Staudt, Kaitlin. „“Move Forward and Ascend!” : Temporality and the Politics of Form in Turkish Modernist Literature“. Modernism/modernity 30, Nr. 4 (November 2023): 659–79. http://dx.doi.org/10.1353/mod.2023.a925903.

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abstract: This article situates Turkish literary modernism within larger discussions on the role of literature within the Turkish state’s modernization program following the establishment of the Turkish Republic in 1923. The article explores how early twentieth-century government directives regarding the teleology of modernity in Turkey have created tension between characteristics central to modernism’s definition. Reckoning with the ways in which the modernist novel has been constructed as other to Turkish literature by scholars and by authors reveals the ways in which state-sponsored conceptions of Turkish modernity underpin the definitional practices surrounding literary modernism in Turkey and in doing so impact field-level discussions of how and where modernism exists.

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49

Rotar, Nataliya. „Critique of Reflective Modern Theory in Contemporary Political Science“. Mediaforum : Analytics, Forecasts, Information Management, Nr. 8 (28.12.2020): 132–47. http://dx.doi.org/10.31861/mediaforum.2020.8.132-147.

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The article studies the main lines of criticism of the theory of reflexive modernism. It is proved that in modern political science it unfolds around certain provisions of the theory of reflexive modernism. It is substantiated that Eurocentrism of the definition and interpretation of reflexive Art Nouveau, characteristic of the studies of U. Beck, A. Giddens, and J. Habermas, is criticized. A critical attitude towards eurocentrism of reflexive modernism provoked the formation of the idea of the probability and reality of the multiplicity of modernities (for example, Asian concepts of compressed modernity and enhanced modernization). It is proved that the most important vectors of criticism of the theory of reflexive modernism are: (1) the role and functions of political time and chronopolitics in different cultures and political systems; (2) the functional characteristics of political actors, primarily the state and citizen; (3) the scientific position according to which political and politics in the framework of the realities of reflexive modernism cannot remain in a stable form, therefore it is inevitable to identify new institutional characteristics of modernity that significantly expand the concept of radical modernism; (4) the need to clarify such a characteristic feature of reflective modernity as changing the system of control over the means of violence; (5) the search for the limits of application of the theory of reflexive modernism in the study of political processes in the modern world.

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50

Sharma, Dr Jatinder Kumar. „Lyotard and Habermas on Modernity, Post Modernism and The Present Cultural Crisis“. Paripex - Indian Journal Of Research 3, Nr. 8 (15.01.2012): 155–56. http://dx.doi.org/10.15373/22501991/august2014/45.

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Zeitschriftenartikel zum Thema „Modernity“

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