Journal articles on the topic 'High modernism'
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Love, Heather. "Introduction: Modernism at Night." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 744–48. http://dx.doi.org/10.1632/pmla.2009.124.3.744.
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Is Queer modernism simply another name for modernism?As Douglas Mao and Rebecca L. Walkowitz note in their introduction to the 2006 collection Bad Modernisms, “[T]here were numerous ways of being outside in the early twentieth century” (7). Efforts over the past several decades to imagine modernism as an expanded field have been remarkably successful. Female modernism, African American modernism, queer modernism, sentimental modernism, low- and middlebrow modernism, and colonial, postcolonial, and anticolonial modernism have all been integrated into a renewed understanding of modernism (or modernisms, as it is often written). In addition, the rethinking of modernism as a set of aesthetic movements in relation to a larger context of global modernity and modernization has turned the inside out. Since few modernists, on closer inspection, appear to have stayed high or dry, bad modernism, outsider modernism, and marginal modernism begin to look more and more like modernism itself.
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Topolovská, Tereza. "Echoes of architectural modernism in J.G. Ballard’s High-Rise." Ars Aeterna 12, no. 2 (December 1, 2020): 1–19. http://dx.doi.org/10.2478/aa-2020-0007.
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Abstract This article pursues the elements of architectural Modernism in James Graham Ballard’s 1975 novel High-Rise (1975). The enormous tower block represents a triumph of technological and constructional progress envisioned by the pioneers of modernist architecture. However, Ballard’s vision of social development within it is regressive and violent. In order to decipher the nature of the role, or lack thereof, of the tower block in the reformulation of its own social fabric, the paper studies the ways in which the narrative presents aspects analogous to the key elements of architectural modernism. Particular attention is paid to the narrative’s reflections of radical and often contradictory visions of key figures of theoretical roots of modernism, such as Le Corbusier and Karel Teige. Their ambiguous stance on the core of modernism not only determines the outcome of the social experiment performed by Ballard in High-Rise, but can also be seen as deforming the building practice until today.
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Wood, Alice. "Modernism, Exclusivity, and the Sophisticated Public of Harper's Bazaar (UK)." Modernist Cultures 11, no. 3 (November 2016): 370–88. http://dx.doi.org/10.3366/mod.2016.0146.
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This article explores the reciprocal relationship between modernism and Harper's Bazaar (UK) during 1929–35. In its early years this commercial fashion magazine exploited modernism's perceived exclusivity and highbrow status to flatteringly construct its aspirational readers as culturally sophisticated people. Whether printing modernist texts and artworks or parodying their experimental style, early Harper's Bazaar (UK) promoted the reception of modernist writers and artists as high cultural celebrities, whose presence in the magazine enhanced its cultural value. While insisting on the exclusivity of modernist art and literature, Harper's Bazaar (UK) simultaneously facilitated the mainstreaming of modernism by commodifying modernist texts and artworks and teaching its readers how to approach them. During the early 1930s, this article argues, Harper's Bazaar (UK) helped to establish early narratives of modernism's origins and development while marketing modernism as a desirable, high-end cultural product to its fashion-conscious audience.
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Mansanti, Céline. "Mainstreaming the Avant-Garde: Modernism in Life Magazine (New York, 1883–1936)." Journal of European Periodical Studies 1, no. 2 (December 31, 2016): 113. http://dx.doi.org/10.21825/jeps.v1i2.2644.
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This paper explores the relationship between literary modernism and mainstream culture within a little-studied American magazine, Life (New York, 1884-1936). It does so by looking at three ways in which Life presented modernism to its readers: by quoting modernist writing, and, above all, by satirizing modernist art, and by offering didactic explanations of modernist art and literature. By reconsidering some of the long-established divisions between high and low culture, and between ‘little’ and ‘bigger’ magazines, this paper contributes to a better understanding of what modernism was and meant. It also suggests that the double agenda observed in Life – both satirical and didactic – might be a way of defining middlebrow magazines.
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Vice, Brad. "Contemporary High Modernism." American Book Review 32, no. 5 (2011): 27. http://dx.doi.org/10.1353/abr.2011.0114.
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Köksal, Duygu. "Domesticating the avant-garde in a nationalist era: Aesthetic modernism in 1930s Turkey." New Perspectives on Turkey 52 (May 2015): 29–53. http://dx.doi.org/10.1017/npt.2015.1.
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AbstractThis paper investigates the rise of aesthetic modernism in Turkey’s early republican era (i.e., the late 1920s and the 1930s), with an emphasis on the influence of international cultural currents on Turkey’s intelligentsia. The paper concentrates on the modernist ideas and works of the D Group, who advocated a high modernism in the plastic arts, and the literary modernism of the socialist poet Nâzım Hikmet (Ran). Firstly, it addresses the historiographical argument that aesthetic modernism in Turkey was a derivative enterprise, a low-grade replica of European modernism. Secondly, it argues that the early republican intelligentsia found itself in a dilemma with regard to modernist currents. For them, aesthetic modernism was a sign of the modern epoch, but it also carried a radical potential for a critique of bourgeois modernity. Aesthetic modernism not only promised change, functionality, and renewal, but also manifested such disturbing symptoms of modernity as individualism, melancholy, degeneration, and restlessness. The paper reaches the conclusion that figures such as the D Group artists and Nâzım Hikmet translated the avant-garde international currents of aesthetic modernism into the early republican context, opting for positive and optimistic versions of modernism rather than adopting its more alienating, pessimistic, and despairing features. Through their works, an intellectual debate on aesthetic modernism was initiated in early republican Turkey.
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Coyle, Michael. "With a Plural Vengeance: Modernism as (Flaming) Brand." Modernist Cultures 1, no. 1 (May 2005): 15–21. http://dx.doi.org/10.3366/e2041102209000021.
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In ‘With a Plural Vengeance: Modernism as (Flaming) Brand’, Michael Coyle examines the renaissance of modernism within the academic institution since the early 1990s, and the vigorous yet controversial re-branding through which this has in part been achieved. Defending this revisionary modernist studies, he argues that the issue for contemporary scholars is not primarily one of purging the elitism of a previously dominant ‘high modernist canon’, but of emphasising the pluralistic rather than singular criteria of canon-formation.
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Mrlješ, Rade. "The Energoprojekt building in Belgrade, designed by architect Milica Šterić: High modernism as a paradigm of urban conservation." Nasledje, no. 21 (2020): 125–38. http://dx.doi.org/10.5937/nasledje2021125m.
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In examining the urban heritage, which has often been fragmented in Belgrade as a result of different social and political circumstances, the issue of the choice of methodology is often raised in urban conservation. The present paper will propose to consider along these lines the role of high (second) Modernism in the architecture and urban development of Belgrade. The strategies of urban conservation focusing on the main issue of the synthesis of the historical and planned structure would be directed towards the Modernist phenomena which are established as a platform structure of the urban conservation of Belgrade's spatial cultural and historical units. The present research analyses the potential and possibilities of implementing the postulates of the Modernist creative efforts in the contemporary architectural, urban planning and conservation theory and practice, with the analytical basis in the seminal work of architect Milica Šterić (1914-1997) - the Energoprojekt building (1956-1960), located in Zeleni Venac Square in Belgrade. This study, which is based on certain aspects of the high Modernism, namely rationalism and neutrality, aims to point out a number of issues in the current globalist textualism, in which concepts of high Modernism and internationalism are evidently manipulated in the historical urban contexts of the city.
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O’Sullivan, James. "Modernist Intermediality: The False Dichotomy between High Modernism and Mass Culture." English Studies 98, no. 3 (March 2, 2017): 283–309. http://dx.doi.org/10.1080/0013838x.2016.1246136.
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Nieland, Justus. "Editor's Introduction: Modernism's Laughter." Modernist Cultures 2, no. 2 (October 2006): 80–86. http://dx.doi.org/10.3366/e2041102209000203.
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This special issue of Modernist Cultures is animated by two claims. First, that modernism is funny, and the moderns inveterate laughers, gigglers, joke-pullers, and devastating wags. Second, that modernism's ubiquitous laughter is overlooked, undertheorized, and downright gagged by the aura of high seriousness that still infuses critical descriptions of modernism: of its heroic gambits to shore up a besieged world of authenticity, plenitude, and presence; of its aristocratic disdain for the enervating banality of quotidian modernity; of its arch and unfeeling formalism.
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Hilsabeck, Burke. "Frank Tashlin's Jackson Pollock." Modernist Cultures 11, no. 2 (July 2016): 243–67. http://dx.doi.org/10.3366/mod.2016.0137.
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This paper situates Frank Tashlin's Paramount-produced Artists and Models (1955) alongside a genealogy of modernist painting. Beginning with the observation that the opening sequence of Tashlin's film burlesques Abstract Expressionist painting and Jackson Pollock in particular, it puts Artists and Models in conversation with Clement Greenberg's paint-on-a-flat-canvas modernism (and Greenberg's interest in articulating this modernism through the figure of Pollock) with a distinct account of cinematic specificity. The essay then places Tashlin's film and the figure of Jerry-Lewis-as-Jackson-Pollock in relation to Pop Art of the late 1950s and early 1960s. It concludes by suggesting that Tashlin's Pollock can help us to better think about the relationship between high modernism and mass culture.
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Kohlmann, Benjamin. "Awkward Moments: Melodrama, Modernism, and the Politics of Affect." PMLA/Publications of the Modern Language Association of America 128, no. 2 (March 2013): 337–52. http://dx.doi.org/10.1632/pmla.2013.128.2.337.
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The modernist privileging of irony and detached contemplation frequently combined with a recognition of the social and artistic significance of affect. The relation between melodramatic structures of feeling and modernist innovation is evident in two plays of the interwar years: Bertolt Brecht and Elisabeth Hauptmann's Happy End and W. H. Auden and Christopher Isherwood's On the Frontier. Scholars need to develop a vocabulary that complements the customary critical emphasis on modernist “irony,” “estrangement,” and “difficulty” and that can be used to reconstruct the full force of the modernist uses of affect. Instead of estranging melodrama to make it palatable to an audience trained in high modernism, the negotiations between sentimentality and avant-garde aesthetics in Happy End and On the Frontier trigger a backward dialectical movement in which the modernist rallying call to “make it new” blurs into the established patterns of melodrama.
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Earle, Ben. "Modernism and Reification in the Music of Frank Bridge." Journal of the Royal Musical Association 141, no. 2 (2016): 335–402. http://dx.doi.org/10.1080/02690403.2016.1216045.
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ABSTRACTDrawing on the tradition of Formenlehre, this article puts forward a methodological historicism as a means of mediating between the disciplinary expectations of musical analysis, on the one hand, and philosophical aesthetics, on the other. Stylistic developments in the later music of Frank Bridge, perhaps British music's best claim to a high modernist of the generation of Schoenberg and Stravinsky, are illuminated by means of Theodor W. Adorno's notion of musical ‘reification’. A comparative analysis of the complementary modernism of Bridge's contemporary Ralph Vaughan Williams is also put forward, and a critical light shone on recent writing on British musical modernism in general.
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Freestone, R. "The Shattered Dream: Postwar Modernism, Urban Planning, and the Career of Walter Bunning." Environment and Planning A: Economy and Space 28, no. 4 (April 1996): 731–52. http://dx.doi.org/10.1068/a280731.
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The vision of modern urban planning after World War 2 was a remarkably standardized project around the world. Implementation was also universally problematic, the heady reformism of 1940s reconstructionism never being comprehensively realized. Moreover, by the 1970s the early ‘heroic’ modernism had evolved into a counterrevolutionary ‘high’ modernism. Exemplifying these themes was the career of the Sydney-based architect—planner Walter Bunning (1912–1977). In this paper I provide an overview of his particular brand of modernist thought, his central planning ideas, and his physical planning work, with special reference to a disastrous redevelopment scheme near the end of his life. The nature and scope of Walter Bunning's professional life represent a virtual microcosm of the uneven course of planning in Australia in the postwar years: genesis in the avant-garde Le Corbusier-tinged modernism of the 1930s, the early priorities, the broadening agenda but ever moderating tone, the difficulties in translating heady dreams into reality, and the crises which led to the emergence of a new paradigm. I will demonstrate how a biographical approach to planning history can illuminate the origins, meanings, hopes, and outcomes of modernist planning in the urban arena.
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Milin, Melita. "The stages of modernism in Serbian music." Muzikologija, no. 6 (2006): 93–116. http://dx.doi.org/10.2298/muz0606093m.
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In order to consider this topic, it was first necessary to discuss certain problems of terminology and periodisation relating to musical modernism in general. It is already familiar the extent to which the terms "new music", "modernist", "contemporary" and "avant-garde" music have been used interchangeably, as synonyms. For this reason, it was first important to outline the period of musical modernism as almost generally accepted, which is regarded as an epoch comprising three different periods: (I) period of early modernism (1890?1918), announced by a break with later romanticism and a turn towards French Impressionism, Austro-German Expressionism and Russian "folkloric Expressionism"; (II) period of "classical modernism"(1919?1945) that witnessed a diffusion of neo-classicism and serialism; (III) period of "high modernism" (1946?1972) characterized by highly experimental compositional techniques such as integral serialism and aleatoricism. In relation to this, avant-garde movements are seen as radically innovative and subversive tendencies within this modernist epoch, and while certain postmodernist ideas can be recognized as early as the 1950s, postmodernism as a movement hadn?t gained its full potency until the 1970s. Since then, it has assumed different forms of existence as well as having assimilated a continued form of ?modernist project?. The second part of the article proposes a periodisation of Serbian musical modernism, which is divided into four stages. The first stage (1908?1945) was a period where elements of Impressionism and German expressionism were creatively introduced into the works of several leading composers (Petar Konjovic, Stevan Hristic, Miloje Milojevic, Josip Slavenski, Marko Tajcevic). The second stage (1929?1945) was marked by a group of composers who studied in Prague and assimilated certain progressive compositional techniques such as free tonality, atonality dodecaphony, microtonality and athematicism (Mihovil Logar, Predrag Milosevic, Dragutin Colic, Ljubica Maric, Vojislav Vuckovic, Milan Ristic). The third stage (1951?1970) followed immediately after the era of Socialist Realism, which involved the rediscovery of the pre- World War II Western modernism and prepared the ground for contemporary avant-garde developments almost non-existent before 1961 (Milan Ristic, Dusan Radic, Dejan Despic Vladan Radovanovic, Enriko Josif, Stanojlo Rajicic, Vasilije Mokranjac Aleksandar Obradovic, Ljubica Maric, Rajko Maksimovic). The fourth stage (1956?1980) was the period during which the post-World War II avant-garde developments found their home amongst Serbian composers, some of them conceived almost simultaneously with but independent of the current progressive development in the rest of the world (Vladan Radovanovic Aleksandar Obradovic, Petar Ozgijan, Petar Bergamo, Srdjan Hofman, the group Opus 4).
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Holt, David K. "Post-Modernism vs. High-Modernism: The Relationship to D.B.A.E. and Its Critics." Art Education 43, no. 2 (March 1990): 42. http://dx.doi.org/10.2307/3193206.
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Warner Berthoff. "From High Modernism to Middlebrow Culture." Sewanee Review 117, no. 1 (2009): 125–28. http://dx.doi.org/10.1353/sew.0.0109.
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Marshall, Tod. "Describe Manifest Destiny to High Modernism." Iowa Review 36, no. 1 (April 2006): 145. http://dx.doi.org/10.17077/0021-065x.6212.
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McAvoy, Siriol. "‘I’ve Put a Yule Log on Your Grate’: Lynette Roberts’s ‘Naïve’ Modernism." Humanities 9, no. 1 (December 19, 2019): 3. http://dx.doi.org/10.3390/h9010003.
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In this article, I suggest that Lynette Roberts develops a ‘naïve’ modernism that emphasizes tropes of folk art, home-made craft, and creative labour as a therapeutic response to war and a means of carving out a public role for the woman writer in the post-war world. Bringing high modernist strategies down to earth through an engagement with localized rural cultures, she strives to bridge the divide between the public and the private in order to open up a space for the woman writer within public life. As part of my discussion, I draw on Rebecca L. Walkowitz’s contention that literary style—conceived broadly as ‘attitude, stance, posture, and consciousness’—is crucial to modernist writers’ attempts to think in—and beyond—the nation. Embracing a liberating openness to experience and ‘amateurish’ passion, Roberts’s ‘home-made’ style challenges imperial constructions of nationhood centred in authority and control with a more collective, constructivist, improvisatory concept of belonging (Roberts 2005, p. xxxvi). Probing the intersections between folk art, national commitments, and global feminist projects in British modernism, I investigate how a radically transformed ‘naïve’ subtends the emergence of a new kind of feminist modernism, rooted in concepts of collective making and creative labour.
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Findlay, Michael. "So High you can't get over it: Neo-classicism, Modernism and Colonial Practice in the forming of a Twenieth Century Architectural Landmark." Architectural History Aotearoa 3 (October 30, 2006): 7–19. http://dx.doi.org/10.26686/aha.v3i.6795.
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Amyas Connell (1901-80) was a New Zealand architect and a leading figure in British modernism. His first commission, High and Over (1929-31) for the archaeologist and classical scholar Bernard Ashmole was described as the first fully worked out modernist house built in England. The project drew attention from a wide range of architectural critics including Howard Robertson and the Country Life writer Christopher Hussey. A short film entitled The House of a Dream made by British Pathé ensured the house was seen by the large cinema audience in 1931. High and Over became more contentious over time when Connell's intention to combine classical and modern design tendencies was criticised by more doctrinaire modernists. High and Over occupies a place where the traditions of classicism and the emergent features of modernism intersect. Connell's path, if taken, may have produced a distinctively British form of classical modernism. [NEW PARAGRAPH] This paper seeks to establish the context for High and Over from a New Zealand perspective and through comparison with other projects by colonial architects in Britain. Connell's critical profile has been shaped by the notion that British modernism was in the hands of "Wild Colonial Boys," a soubriquet used to frame Connell's work in the 1930s by the British writer Dennis Sharp. In this interpretation, the depth of Connell's experience prior to High and Over is overlooked. Connell's partnership with the Australian-born Stewart Lloyd Thomson (1902-90) has not been covered in any previous study of the Connell, Ward and Lucas practice. The High and Over project included a number of related structures set in a landscape plan not usually included in analysis of the complex whole. The relationship between the garden plan and the designs of the Armenian architect Gabriel Guévrékian seen at the Paris Exposition and the Villa Noailles at Hyéres (1927) has also not been traversed.
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Morgan, Daniel. "Bazin's Modernism." Paragraph 36, no. 1 (March 2013): 10–30. http://dx.doi.org/10.3366/para.2013.0075.
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One of the basic assumptions about André Bazin's theory of cinema has been that his idea of realism stands in direct opposition to modernism. In this article, I further develop a revised account of Bazin's realism that I have offered elsewhere, which rethinks the basic assumptions of ontology and realism in his work. This brings Bazin into a surprising affinity with tenets of high (reflexive) modernism. From this position, a re-examination of his engagement with the films of Orson Welles not only shows Bazin to be wrestling with those issues in his criticism but also provides a way to rethink a number of positions in film theory that have historically been associated with a stringently reflexive modernism.
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Williams, Alastair. "Modernism, Functionalism, and Tradition: The Music of Friedrich Goldmann." Tempo, no. 193 (July 1995): 27–30. http://dx.doi.org/10.1017/s0040298200004289.
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The current reappraisal of tradition, along with an interest in a music that deals with concrete emotions and which has a direct appeal to audiences, sounds a certain resonance with the aesthetic doctrines that prevailed in the former communist bloc. A sense of history is vital to socialist politics, but the availability of a symphonic tradition to Soviet composers after a break with that heritage suggests a state of posthistoire; a condition normally associated with postmodernism. The postmodernist reappraisal of the past is anticipated by, for example, Shostakovich's complex and sometimes ironic relationship to the symphonic tradition. Conservative traditionalism in the East maintained to be a critique of high modernist principles; in the West, ironically, a turn to tradition is now put forward as an alternative to the same rationalist modernism. At the moment when the achievements of the historical avant-garde and of high modernism have become fully available to the former Eastern Europe, the former Western Europe is engaged with the reappraisal of tradition. Even where a modernist music did develop in Eastern Europe – as, for example, it did in Poland – it was followed by a move back to more traditional techniques. The consequence of this inclination is that composers such as Górecki and Pärt, who employ traditionally-based expressive languages, have shot onto centre stage. The point is that composers from the former communist bloc have already encountered many of the issues that now preoccupy some contemporary composers in the capitalist West.
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Oram, Celeste. "DARMSTADT'S NEW WAVE MODERNISM." Tempo 69, no. 271 (January 2015): 57–65. http://dx.doi.org/10.1017/s004029821400093x.
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This year's Darmstadt Summer Courses for New Music were plugged-in, wired-up, mixed-down, line-out. Scarcely a main-stage concert wasn't amplified, at the very least. More often, new works synthesised spatialised sound design, video material, lighting and electronics in high-tech, high-concept performances.
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Saint-Amour, Paul K. "Applied Modernism." Theory, Culture & Society 28, no. 7-8 (December 2011): 241–69. http://dx.doi.org/10.1177/0263276411423938.
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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 (Barthes and de Certeau are the primary examples here) 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.
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Park, Chul-Hyun. "Documentary and the High Modernism in Contemporary China." Korean Association of Space and Environment Research, no. 67 (March 30, 2019): 11–56. http://dx.doi.org/10.19097/kaser.2019.29.1.11.
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Allenby, Brad. "High Modernism Redivivus?: Response to Comment by Friedman." Journal of Industrial Ecology 3, no. 4 (September 1999): 21–27. http://dx.doi.org/10.1162/108819899569665.
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Chowrimootoo, Christopher. "Copland’s Styles." Journal of Musicology 37, no. 4 (2020): 518–59. http://dx.doi.org/10.1525/jm.2020.37.4.518.
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This article examines the relationship between Aaron Copland’s activities as composer and as pedagogue in order to illuminate the fraught midcentury relationship between musical modernism and middlebrow culture. I situate his unpublished lecture notes and music appreciation books within the middlebrow context and trace their connections with the works he composed during this period. At the center of my investigation is the contentious midcentury category of “style,” which implicated both Copland’s music and his pedagogy in ways that illuminate middlebrow cultural appreciation at large. Challenging long-standing modernist depictions of the middlebrow as the straightforward commercialization of high culture, I excavate characteristic middlebrow commitments to compromise, novelty, and breadth that proved even more unsettling to midcentury hierarchies than mass culture’s supposedly shameless pandering. By emphasizing Copland’s commitment to a canon of modern “styles,” in composition as in music appreciation, I draw out underlying tensions between his “middlebrow” approach to modern music and a “higher,” purer form imagined by Arnold Schoenberg and Theodor W. Adorno. At the same time, I show how these distinctions often threatened to collapse. On a broader methodological level, I chart a middle course between “social” conceptions of the middlebrow—as a means of marketing, distributing, and teaching high art to a mass audience—and “aesthetic” discussions of it as a compositional style. By examining the reciprocity between Copland’s pedagogy and music, I ultimately suggest that the problem which middlebrow culture posed to high modernism lay not just in its ability to mediate between high and low, modernism and mass culture, but also in the challenges it posed to fantasies of aesthetic immediacy and autonomy.
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Allen, Peter. "The End of Modernism?" Journal of the Society of Architectural Historians 70, no. 3 (September 1, 2011): 354–74. http://dx.doi.org/10.1525/jsah.2011.70.3.354.
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The making of People's Park in Berkeley, California, in 1969 was accompanied by some of the most violent student protests of its era. While these events can be seen as an episode in the movement of student radicalism that focused on the Vietnam War, Peter Allen suggests that conflicting visions of architecture and urban space stood at the center of the People's Park violence. The End of Modernism? People's Park, Urban Renewal, and Community Design argues that the movement to create the park was a reaction to a university program of campus expansion, which had razed existing older housing to build modernist high-rise residential towers, and the urban renewal scheme jointly supported by the city and the university. The events drew on new paradigms in planning and architecture, as People's Park attracted the support of many design professors and students. For them, it was a test case for theories of community-based development in architecture and planning, and their story provides a glimpse into profound divisions in the design professions in the late 1960s.
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Gannon, Matthew. "The Aesthetic Death Drive of Modernism." differences 31, no. 2 (September 1, 2020): 58–85. http://dx.doi.org/10.1215/10407391-8662174.
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This essay argues not only that Wilhelm Worringer’s concept of the urge to abstraction from his work of art history Abstraction and Empathy (1908) prefigures Sigmund Freud’s notion of the death drive in Beyond the Pleasure Principle (1920) but also that Worringer’s aesthetics of nonrepresentational art solves in advance some key problems that Freud had in accounting for the modernism of his day. Though Worringer and Freud did not appear to ever engage with each other, their two central concepts share a high degree of compatibility, and it is possible to think of Worringer’s urge to abstraction as an aesthetic death drive. But because Freud argues that art is fundamentally pleasurable and rooted in mimetic representation, his own aesthetics remains insistently Aristotelian. By rejecting an Aristotelian paradigm, Worringer provides a modernist aesthetic theory of the death drive that Freud himself was never able to envision.
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Beeston, Alix. "A “Leg Show Dance” in a Skyscraper: The Sequenced Mechanics of John Dos Passos's Manhattan Transfer." PMLA/Publications of the Modern Language Association of America 131, no. 3 (May 2016): 636–51. http://dx.doi.org/10.1632/pmla.2016.131.3.636.
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Performing a historicized analysis of John Dos Passos's Manhattan Transfer (1925), this essay returns this understudied author to the center stage of modernist studies and includes the popular stage in accounts of the technologized mechanisms of modernist writing. By disclosing a deep correlation between the composite narrative tactics of Dos Passos's multilinear novel and the mass entertainments of this period, particularly Florenz Ziegfeld's annual Follies revues, it supplies new parameters for theorizing strategies of narration and characterization in modernist fiction vis-à-vis the technologies of popular entertainment and display in the early twentieth century. The discussion of Dos Passos's broad critique of the gendered specular economy of the modern metropolis in the era of Taylorism repositions his early writing as integral to the development of high modernism in the 1920s.
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Brown, Stephen. "Brands on a wet, black bough: marketing the masterworks of modernism." Arts and the Market 5, no. 1 (May 5, 2015): 5–24. http://dx.doi.org/10.1108/am-05-2014-0017.
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Purpose – In a world where commerce and culture are still somewhat estranged, the purpose of this paper is to show that high culture’s supreme exponents were commercially minded masters of marketing. Design/methodology/approach – Historically situated, the paper adopts a biographical approach to the making of modernism’s literary masterworks. It focuses on Ezra Pound, T.S. Eliot and James Joyce, who were responsible for the modernist classics, Ulysses and The Waste Land. Findings – The analysis identifies five fundamental marketing principles that appear paradoxical from a traditional, customer-centric standpoint, yet are in accord with latter-day, post-Kotlerite conceptualisations. The marketing of modernism did not rely on “modern” marketing. Practical implications – If, at the height of the anti-bourgeois modernist movement, the “great divide” between elite and popular culture was bridged by marketing, there is no reason why contemporary culture and commerce cannot collaborate, co-operate, co-exist, coalesce. Originality/value – The paper complements prior studies of “painterpreneurs”, by drawing attention to the marketing of literary masterworks.
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Bralović, Miloš. "Looking at the Master Narrative: A Possible Interpretation Strategy." AM Journal of Art and Media Studies, no. 16 (September 5, 2018): 1. http://dx.doi.org/10.25038/am.v0i16.249.
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While re-thinking (or, from the perspective of our time, looking at) Modernism, and the concept of modernity, one must have in mind all the contradictions implied by the term. To paraphrase Susan Stanford Friedman, Modernism is (or was) both the culture of rebellion and ‘high’, elitist culture, both negation of tradition and a so-called master narrative. Modernism means different things to different people, but the problem is that, as Stanford Friedman points out, its definitions are not just different, but stand as opposites. Bearing that in mind, the main point of this paper is to try to define/explain/understand what the mentioned master narrative (in the Modernist practices of fine arts) is and how it was created. Is our re-thinking, or looking from a temporal distance, just a mere observation, or, is it inevitable to notice all the different narratives connected to different practices similarily to Jacques Derrida’s différence? In other words, were there that many narratives, would there even be a master one? Article received: March 24, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Scholarly analysis or debateHow to cite this article: Bralović, Miloš. "Looking at the Master Narrative: A Possible Interpretation Strategy." AM Journal of Art and Media Studies 16 (2018): 1−10. doi: 10.25038/am.v0i16.249
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Sobieraj, Tomasz. "O dynamice i opozycjach XIX-wiecznej kultury." Poznańskie Studia Polonistyczne. Seria Literacka, no. 40 (September 14, 2021): 279–92. http://dx.doi.org/10.14746/pspsl.2021.40.14.
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Sabina Brzozowska’s monograph consists of a coherent collection of comparative and historical and literary studies of various artistic and ideological aspects found in selected works of Polish and European modernism. The author focuses on the dramas by Stanisław Wyspiański, Stanisław Przybyszewski, Tadeusz Rittner, Tadeusz Miciński and on the prose by Wacław Berent, Miciński and Thomas Mann. The interpretations of the works included in the monograph show a common area of European nineteenth-century culture, especially of the modernist period. Brzozowska’s reading experience focused on uncovering the intertextual and comparative relationships between, for instance, Wyspiański’s Wesele (The Wedding) and Mann’s Buddenbrooks, Berent’s Ozimina (Snow Crop) and Czarodziejska Góra (The Magic Mountain), Rittner and Ibsen. High art literature of the modernist period found its counterpoint in popular culture, including the new media. The author reconstructed this development dynamic of modernist culture in multiple versions.
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Reynolds, Paige. "Spectacular Nostalgia: Modernism and Dramatic Form in Kate O'Brien's Pray for the Wanderer." Irish University Review 48, no. 1 (May 2018): 54–68. http://dx.doi.org/10.3366/iur.2018.0329.
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This essay draws attention to how the avant-garde undertakings of Irish Revivalism, particularly those of the dramatic movement, influenced Kate O'Brien's writing in the wake of high modernism. Published in 1938, Pray for the Wanderer espouses a nostalgia for the widespread, collective political and cultural activities that suffused Irish public life before the ascension of Éamon de Valera. It metabolizes dramatic form to showcase the limitations of the Free State, interrupting the novel's realist plot with extended monologues celebrating individualism. The novel's awkward form can be read as a considered political and ethical gesture pushing the narrative into the domain of modernist difficulty to impede and productively challenge the reader.
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Bivar. "Agricultural High Modernism and Land Reform in Postwar France." Agricultural History 93, no. 4 (2019): 636. http://dx.doi.org/10.3098/ah.2019.093.4.636.
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Scott, Colin. "The British Regulatory State: High Modernism and Hyper-Innovation." Modern Law Review 68, no. 6 (November 2005): 1035–37. http://dx.doi.org/10.1111/j.1468-2230.2005.00572_2.x.
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Carrier, David. "High Art:Les paradis artificiels and the origins of modernism." Nineteenth-Century Contexts 20, no. 2 (January 1997): 215–38. http://dx.doi.org/10.1080/08905499708583448.
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Hallin, Daniel C. "The Passing of the “High Modernism” of American Journalism." Journal of Communication 42, no. 3 (September 1, 1992): 14–25. http://dx.doi.org/10.1111/j.1460-2466.1992.tb00794.x.
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Huizen, Philip Van. "Building a Green Dam: Environmental Modernism and the Canadian-American Libby Dam Project." Pacific Historical Review 79, no. 3 (August 1, 2010): 418–53. http://dx.doi.org/10.1525/phr.2010.79.3.418.
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This article examines a fundamental shift in ideas about development, from high modernism in the early twentieth century to environmental modernism after 1960, illustrated by the promotion and construction of the Libby Dam Project in the Canadian-American Kootenay River Basin. In the 1940s Canadian and U.S. planners originally promoted the dam by stressing the rational conquest of nature through science and technology. When construction began in 1966, however, pressure from a growing environmental movement changed how planners designed and constructed the Libby Dam and its reservoir, Lake Koocanusa. The later planners implemented mitigation measures, "blended" the dam and reservoir into the landscape, and appropriated First Nations' symbols to make the project seem like a natural part of the Canadian-American Kootenay Basin. Thus, in both countries, planners reflected the shift from high modernism to environmental modernism.
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Ghazoul, Ferial J. "Arabian Aesthetics in European Modernism." Journal of World Literature 2, no. 3 (2017): 339–55. http://dx.doi.org/10.1163/24056480-00203003.
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This article focuses on one aspect of the impact of the Arabian Nights on Western literature that has been rarely addressed, namely its impact on modernism. Modernism is almost always viewed as a quintessentially European movement, self-generated between the first and second World Wars. From there it spread to the rest of the world. Despite its global diffusion, the imperial project has remained to be viewed in terms of the impact of the colonial powers over the colonized. My contention is that the cultural traffic was not one-way, but two-way. By considering the cultural traffic as going two ways, we instil an understanding of Modernism as a World Movement and recognize the constitutive part that Arabic poetics played in European Modernism. This article thus detects how the narrative logic of the most famous Arabian tales structured the works of the two pillars of High Modernism, Marcel Proust and James Joyce.
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Halpern, Richard. "Shakespeare in the Tropics: From High Modernism to New Historicism." Representations 45 (January 1, 1994): 1–25. http://dx.doi.org/10.2307/2928600.
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Halpern, Richard. "Shakespeare in the Tropics: From High Modernism to New Historicism." Representations 45, no. 1 (January 1994): 1–25. http://dx.doi.org/10.1525/rep.1994.45.1.99p02045.
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Farish, Matthew, and P. Whitney Lackenbauer. "High modernism in the Arctic: planning Frobisher Bay and Inuvik." Journal of Historical Geography 35, no. 3 (July 2009): 517–44. http://dx.doi.org/10.1016/j.jhg.2009.02.002.
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Amad, Paula. "Affective Cin-aereality." Feminist Media Histories 7, no. 2 (2021): 145–87. http://dx.doi.org/10.1525/fmh.2021.7.2.145.
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This article explores a kinship between aviation and cinema through the intersection of affective gender, dreams, and flying as expressed across newspaper accounts of women and flight, star discourse related to Mabel Normand and Mary Pickford, and the sexualized scenes of aerial joyriding in Abram Room’s Bed and Sofa (1927) and Walt Disney and Ub Iwerks’s Plane Crazy (1928). It argues that in order to fully understand the aviation-cinema nexus, we must dislodge it from its masculinist heritage within high modernist myths. Key to this dislodging is the reinsertion of gendered associations of the body, affect, and the senses into the modernist myth of aerial vision as a weightless, abstracted regime of the eye. The article theoretically frames this historical exploration of aviation and cinema as an exemplary case study for an expanded rethinking of affect, reception, and the senses in Miriam Hansen’s notion of cinema as vernacular modernism.
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Mance, Ivana. "Towards the Theory of the Naïve Art – Grgo Gamulin and the Understanding of Modernism." Artium Quaestiones, no. 30 (December 20, 2019): 191–209. http://dx.doi.org/10.14746/aq.2019.30.9.
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The article presents the theory of naïve art of the Croatian art historian Grgo Gamulin (1910–1997), which he developed in a number of texts written from early 1960s. In his theory, Gamulin tried to explain the phenomenon of naïve art on the basis of the modernist paradigm by applying the type of argumentation that is characteristic for the discourse of high-modernity. Gamulin’s postulates on the naïve can be summarised with a few basic lines of speculation. First of all, Gamulin claims that the phenomenon of the naïve was epistemologically possible only in the context of modernism, and that it should therefore be considered an equally valuable movement of contemporary art. However, in order to defend its authenticity, he began adhering to the ab ovo theory, the notion that naïve art does not arise as a cumulative result of the historical development of art, but that it ontologically precedes that development. The naïve artist, according to Gamulin, always starts from the beginning, independent of events in the art world, and immune to influences. A naïve artist is therefore necessarily authentic, or rather original: not having any role models, he develops an individual style, independently building his own visual arts language. Gamulin further posits that the visual arts language of the naïve is not based on a naive imitation of reality, or mimesis, but on an instinctive, spontaneous symbolisation of subjective experience, and as such is completely autonomous in relation to the laws of reality, i.e. it is ontologically grounded in the artist’s imagination. Finally, in an effort to explain the social significance of naïve art, Gamulin interprets the emergence of the naïve in the context of the culture of modernism as compensation – a supposedly naïve attitude to aesthetic norms, as well as an imaginarium that evokes “lost spaces of childhood,” necessarily functions as a therapeutic substitute for the alienation of art and the modern life in general. As such, Gamulin’s theory vividly testifies to the character of naïve art as a phenomenon that is constitutive of the culture of modernism, but that also reflects a number of contemporary polemics and split opinions, not only on the topic of the naïve but of modernism as a whole. The split of opinions on naïve art, especially with regard to its genesis, partly reflects the positions of the so-called conflict on the left, discussions that were taking place between the interwar period and early 1950s with the aim of defining the relationship of leftist ideology to modernism, or rather the relationship between the values of socially-critical engagement and aesthetic autonomy. The discussion on the naïve, however, experienced a certain changing of sides– Grgo Gamulin, a one-time advocate for socialist realism, began supporting naïve art and thus rose to the defence of basically liberal understanding of modernism, while former opponents of socialist realism denounced the phenomenon of the naïve as ideologically inconsistent and aesthetically doctored. In conclusion, Gamulin’s theory, as well as the entire polemic around naïve art that was taking place during the 1960s and which the theory necessarily ties in with, demonstrates the complex contextual reality of a seemingly integral modernist paradigm, illustrating the confrontation of positions that is by no means peculiar to Yugoslav society.
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Finch. "High Modernism, Lowly Desires: A Review of Sara Crangle's Prosaic Desires: Modernist Knowledge, Boredom, Laughter, and Anticipation." Journal of Modern Literature 36, no. 1 (2012): 191. http://dx.doi.org/10.2979/jmodelite.36.1.191.
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Williams, Annabel. "‘The pilot's periplus’: Ezra Pound, Cyril Connolly, and the Forms of Late Modernist Travel." Modernist Cultures 12, no. 2 (July 2017): 275–96. http://dx.doi.org/10.3366/mod.2017.0171.
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This article argues that unexamined connections between Ezra Pound and Cyril Connolly illuminate a remodelling of form in late modernist travel writing, in a period when the genre was threatened by wartime restrictions on movement. In Cyril Connolly's The Unquiet Grave (1944) and Ezra Pound's The Pisan Cantos (1948), the ‘intellectual voyage’ becomes a compensatory response to the authors’ enforced stasis during the Second World War, and to their separation from those places in Europe whose influence was integral to their aesthetic sensibilities. Both writers adapt some of the formal strategies of high modernism to respond to this. The resulting late modernist form might be thought of as a ‘periplus’: like the navigational chart, it is shaped by a subjective ‘pilot's perspective’, and in communicating the writers’ journeys it relies on the affective quality of movement. In both works, structural and figurative motifs of the waveform in states of flux and recession reflect the writers’ compromising positions between nostalgia or escapism, and innovation.
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Collado Rodríguez, Francisco. "Trauma, Ethics and Myth-Oriented Literary Tradition in Jonathan Safran Foer's "Extremely Loud and Incredibly Close"." Journal of English Studies 5 (May 29, 2008): 47. http://dx.doi.org/10.18172/jes.120.
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This essay proposes a reading of Jonathan Safran Foer’s second novel as a literary artifact that the author has consciously elaborated following the strategies of a myth-oriented tradition that had its first literary outbreak in times of High Modernism, being subsequently pursued by magical-realist and postmodern writers. The novelist associates strategies and motifs belonging to such tradition to a context that fulfills the premises of contemporary trauma fiction but that also aims at establishing comparisons between the 9/11 terrorist attacks and WW2 events that North American readers are here forced to remember from the perspective and opinions of a nine-year-old traumatized narrator. Modernist and magical-realist elements combine in a novel that openly demands the ethical positioning of its readers.
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Merrill, Jessica E. "High Modernism in Theory and Practice: Karel Teige and Tomáš Bat'a." Slavic Review 76, no. 2 (2017): 428–54. http://dx.doi.org/10.1017/slr.2017.85.
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This article compares Tomáš Bata's development of Zlín as a company town with the architectural theory of Karel Teige. Despite political differences— Bat’a was a champion of “American” capitalism, Teige a leader of the leftist avant-garde—they had unexpectedly similar ideas about architectural design and city planning. The article uses James C. Scott's definition of high modernism as a starting point to explain these commonalities, historically contextualizing the two men's thinking as a specific iteration of this ideology. Both, for instance, paradoxically sought to incorporate liberal, democratic values (typical of the rhetoric of state building in interwar Czechoslovakia) into their authoritarian plans. This analysis helps explain subsequent, socialist architectural developments, in which Teige's theory and Bat’a's practices were combined. In this, the article contributes to an understanding of Czechoslovakia's post-1948 cultural history not in terms of impositions from Moscow, but as building on native institutions.
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Rojecki, Andrew. "Journalism in Crisis and Change: The High Modernism of American Journalism." Political Communication 10, no. 3 (January 1993): 321–22. http://dx.doi.org/10.1080/10584609.1993.9962989.
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