Bibliografías temáticas / Perpetual Modernity

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Literatura académica sobre el tema "Perpetual Modernity"

Autor: Grafiati
Publicado: 11 de marzo de 2023

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Artículos de revistas sobre el tema "Perpetual Modernity"

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Gulyani, Manjinder. "Antiquity versus Modernity: Perpetual Dilemma of IPR Administrators". Asian Journal of Research in Social Sciences and Humanities 7, n.º 8 (2017): 401. http://dx.doi.org/10.5958/2249-7315.2017.00434.8.

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KUSTERMANS, JORG y ERIK RINGMAR. "Modernity, boredom, and war: a suggestive essay". Review of International Studies 37, n.º 4 (1 de septiembre de 2010): 1775–92. http://dx.doi.org/10.1017/s0260210510001038.

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AbstractThe quest for perpetual peace is a modern phenomenon, associated with a progressive view of history which emerged only in the Enlightenment. In addition, boredom – a feeling of ennui associated with a loss of the ability to act – is a fundamental mood of the modern age. Modern societies are thus, simultaneously, becoming more peaceful and their inhabitants are becoming more bored. As a means of overcoming our boredom, we are increasingly fascinated by violence, and war is glorified as a means of restoring our ability to act. Empirical illustrations of this thesis are drawn from World War I and from the Bush administration's ‘global War on Terror’.
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Nour, Akbar. "Book Review: The Idea of European Islam: Religion, Ethics, Politics and Perpetual Modernity". Politické vedy 25, n.º 2 (3 de julio de 2022): 256–63. http://dx.doi.org/10.24040/politickevedy.2022.25.2.256-263.

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Fielder, Brigitte. "Literary Genealogies and the Kinship of Black Modernity". American Literary History 32, n.º 4 (2020): 789–96. http://dx.doi.org/10.1093/alh/ajaa031.

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Abstract This brief essay is a reflection on the genealogical as a metaphor for modernity’s teleologies. Considering genealogy not as a biological lineage but as a network of kinship relations, we can better understand the collective—and often teleologically recursive—means by which modernity is imagined and reimagined. Understood via this metaphor of relation, we can see how modernity is not simply a progressive line of descendancy, but a complex web of influence. Our methodologies for tracing modernity’s genealogies must therefore think beyond what is inevitable and toward the deliberate and multiplicitous practices contributing to its reproduction. These methodologies must often follow circuitous routes that defy normative disciplinary taxonomies and frameworks. Moreover, the process of tracing modernity’s genealogies is ongoing, perpetuated always to the present moment as its study is also a mechanism for its perpetual reproduction. Black genealogical reproduction is an involved process in modernity, encompassing mechanisms from the bodily to the aesthetic to the technological, resisting normalized teleologies of descent, and extending its branches into complex webs that emerge within Black futures and help to produce them.
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Wright, Nicholas. "Taking the tour: The romantic ruins of Carl Shuker’s Anti Lebanon". Journal of Commonwealth Literature 53, n.º 3 (25 de diciembre de 2016): 481–96. http://dx.doi.org/10.1177/0021989416682790.

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This article positions Carl Shuker’s Anti Lebanon (2013) as a postcolonial text that both identifies and examines the role of a romantic symbolic in the semiotic structures of a neocolonial modernity. The article discusses this romanticism primarily in two ways: as a Baudrillardian simulacral economy of signs and tropes, but also, drawing on the work of romantic scholars like Alan Liu and Jerome McGann, as an engine of repetition by which the romantic ruins — or “timeless” commonplaces — of a particularly Western culture and history efface the specificities of other times, places, and cultures. The relationship of this romantic symbolic to modernity is, I argue, the key insight of Shuker’s novel, and draws on the idea of the dialectic as explored by Theodore Adorno and Max Horkheimer. In its tour of this romantic modernity the essay focuses on three of the novel’s ruins: an abandoned amusement park, a labyrinth, and the figure of the vampire. As I argue, the ruins of romanticism — those elements of the supernatural annexed by modernity — have become like the photo opportunities of a Western literary consciousness the tourist-reader relies on when confronted by difference. In our consumption of these ruins, the very objects that might once have signified the decomposition of modernity, the hegemony of Shuker’s globalized modernity is granted a perpetual and vampiric afterlife. In these respects Shuker’s text can be read as an exploration of distinctly postcolonial concerns.
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Sapitula, Manuel Victor J. "Marian Piety and Modernity: The Perpetual Help Devotion as Popular Religion in the Philippines". Philippine Studies: Historical and Ethnographic Viewpoints 62, n.º 3-4 (2014): 399–424. http://dx.doi.org/10.1353/phs.2014.0017.

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Gordon, Rupert H. "Modernity, Freedom, and the State: Hegel's Concept of Patriotism". Review of Politics 62, n.º 2 (2000): 295–325. http://dx.doi.org/10.1017/s0034670500029478.

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Hegel's concept of patriotism helps specify an account of the just association of collective identity and state power. This concept has three main features. First, as a distinctly modern virtue, patriotism is limited by Hegel's account of modernity and its link to “subjective freedom.” Second, patriotism forges an important connection between critical reflection and habitual practice, illuminated in a comparison of Hegel's thoughts on ethical education with Aristotelian practical philosophy. Third, these first two dimensions are brought together with a decision grounded in the acceptance of the irreducibly collective dimension of freedom— the will to war for one–s country. Hegel's account of war is also a “test case” for his internally limited patriotism, as a comparison with Kant's argument for “perpetual peace” reveals. In conclusion, this account connects traditional liberal institutions with a republican concern for self-rule in a framework that offers legitimate bounds to a “right to national self-determination”.
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Bauman, Zygmunt. "The Great War of Recognition". Theory, Culture & Society 18, n.º 2-3 (junio de 2001): 137–50. http://dx.doi.org/10.1177/02632760122051823.

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With the removal of the ‘final state’ vision from the perception of historical process recasts the coexistence of (proliferating) differences as a perpetual condition of modernity. Given that ‘difference’ masks all too often inequality, perpetuity of the ‘wars of recognition’ is therefore a likely prospect, since the instability of all extant and emerging power settings triggers reconnaissance-through-battle. The politics of recognition, though, tends to be viewed and practiced, wrongly, as an alternative rather than complement of distributive justice, thereby inflaming rather than mollifying the intensity of ‘recognition wars’.
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Campanini, Massimo. "The Idea of European Islam. Religion, Ethics, Politics and Perpetual Modernity, written by Mohammed Hashas". Oriente Moderno 100, n.º 3 (23 de abril de 2021): 529–31. http://dx.doi.org/10.1163/22138617-12340239.

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Brett, Rachel. "‘How soon was now?’: A retrospective on the popularity of nouveau vintage". Clothing Cultures 6, n.º 3 (1 de octubre de 2020): 365–83. http://dx.doi.org/10.1386/cc_00023_1.

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Fashion is a product and reflection of time and tantamount to modernity. The promise of which rests in the future, thus fashion is forever looking forward in the ambition to be ‘new’. Vintage fashion, namely clothes from past periods apprehend this perpetual cycle, often adopted by alternative groups of consumers to create different looks as a subcultural trend. This trend has in recent times been subsumed by capitalism while the label ‘vintage’ has become a marketing term applied to new mass-produced fashions. What can be understood from society’s attitude to progress and the promise of modernity by this remaking of the past into a pastiche? Fashion can prove to be a perfect conduit through which to understand complex conceptualisations of time, and more specifically the concept of 'political time'. What people wear can further cast a light on public consciousness and its faith in development and hope for a better future. This article will consider conceptions of time and modernity as a theoretical tool to reflect on the development of nouveau vintage, which is a recreation of vintage styles and fashion, mass produced for a wider market. Including the role of memory and dialectics, nouveau vintage can be thought of as a refusal for development, while demonstrating fashion is a cultural object worthy of philosophical enquiry.
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Tesis sobre el tema "Perpetual Modernity"

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Hashas, Mohammed. "On the Idea of European Islam: Voices of Perpetual Modernity". Doctoral thesis, Luiss Guido Carli, 2013. http://hdl.handle.net/11385/201031.

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Bassam Tibi – Political Justifications for Euro-Islam. Islam’s Predicament with Modernity. Cultural Modernity for Religious Reform and Cultural Change: towards Euro –Islam. Tariq Ramadan – Theologico-Political Justifications for European Islam. Renewing the Islamic Sources of Law: from Adaptation to Transformation. European Islam within Radical Reform. Tareq Oubrou and Abdennour Bidar – Theologico-Philosophic Justifications for European Islam. Tareq Oubrou: Geotheology and the Minoriticization of Islam. Abdennour Bidar: from Self Islam to Overcoming Religion. European Islam in Context: Renewal for Perpetual Modernity. European Islam and the Islamic Tradition: Revisionist-Reformist. Conceptualizing the Idea of European Islam: Overcoming Classical.
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Knight, Kenneth. "THE “PERPETUAL PRESENT” OF POLITICAL MODERNITY: ADORNO, ARENDT AND THE POSSIBILITY OF THE NEW". OpenSIUC, 2016. https://opensiuc.lib.siu.edu/dissertations/1313.

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The problem addressed in this dissertation is found in the fact that the goals of political modernity cannot be realized within the rational orientation established by modern enlightened reason. Instead of the progressive movement toward the actualization of genuine freedom and human happiness, the modern world is characterized as a kind of “perpetual present.” In this dissertation I demonstrate that the problem of the perpetual present is rooted in the epistemic and practical assumptions of enlightened modernity. Exposing the roots of the problem of the perpetual present in the modern world allows me to develop a dual perspective on modernity, one that acknowledges both the failures that have occurred and the possibilities that exist. Following the lead of J. M. Bernstein’s research, I turn to the work of Theodor W. Adorno and Hannah Arendt to explicate the structure of political modernity’s failure and to demonstrate that there is another possibility contained within the modern world. More specifically, I will demonstrate that the thought on exemplary validity, which can be derived from Adorno and Arendt’s thought, provides a critical orientation capable of challenging the perpetual present.
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Libros sobre el tema "Perpetual Modernity"

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Lorenzo, Bianchi y Postigliola Alberto, eds. Un progetto filosofico della modernità: Per la pace perpetua di Immanuel Kant. Napoli: Liguori, 2000.

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2

Idea of European Islam: Religion, Ethics, Politics and Perpetual Modernity. Taylor & Francis Group, 2018.

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3

Hashas, Mohammed. Idea of European Islam: Religion, Ethics, Politics and Perpetual Modernity. Taylor & Francis Group, 2018.

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Hashas, Mohammed. Idea of European Islam: Religion, Ethics, Politics and Perpetual Modernity. Taylor & Francis Group, 2018.

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Hashas, Mohammed. Idea of European Islam: Religion, Ethics, Politics and Perpetual Modernity. Taylor & Francis Group, 2018.

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Hashas, Mohammed. Idea of European Islam: Religion, Ethics, Politics and Perpetual Modernity. Taylor & Francis Group, 2018.

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Jelly-Schapiro, Eli. Security and Terror. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520295377.001.0001.

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When in 1492 Christopher Columbus set out for Asia but instead happened on the Bahamas, Cuba, and Hispaniola, his error inaugurated a specifically colonial modernity. This is, Security and Terror contends, the colonial modernity within which we still live. And its enduring features are especially vivid in the current American century, a moment marked by a permanent War on Terror and pervasive capitalist dispossession. Resisting the assumption that September 11, 2001, constituted a historical rupture, Eli Jelly-Schapiro traces the political and philosophic genealogies of security and terror—from the settler-colonial conquest of the New World to the wars in Afghanistan, Iraq, and beyond. A history of the present crisis, Security and Terror also examines how that history is registered and reckoned with in significant works of fiction and theory. In critical dialogue with novels by Teju Cole, Mohsin Hamid, Junot Díaz, and Roberto Bolaño, and the theoretical interventions of Jean Baudrillard, Giorgio Agamben, Judith Butler, Michael Hardt and Antonio Negri, and others, Jelly-Schapiro reveals how the erasure of colonial history enables the perpetual reproduction of colonial culture.
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MacCabe, Colin. Perpetual Carnival: Essays on Film and Literature. Oxford University Press, Incorporated, 2017.

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James, David, ed. Modernism and Close Reading. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198749967.001.0001.

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The kinship between modernism and close reading has long between taken for granted. But for that reason, it has also gone unexamined. As the archives, timeframes, and cultural contexts of global modernist studies proliferate, the field’s rapport with close reading no longer appears self-evident or guaranteed—even though for countless students studying literary modernism still invariably means studying close reading. This authoritative collection of essays illuminates close reading’s conceptual, institutional, and pedagogical genealogies as a means of examining its enduring potential. The volume brings together a cast of world-renowned scholars to offer an account of some of the things we might otherwise know, and need to know, about the history of modernist theories of reading, before then providing a sense of how the futures for critical reading look different in light of the multiple ways in which modernism has been close-read. The volume responds to a contemporary climate of unprecedented reconstitution for the field: it takes stock of close reading’s methodological possibilities in the wake of modernist studies’ geographical, literary-historical, and interdisciplinary expansions; and it shows how the political, ethical, and aesthetic consequences of attending to matters of form complicate ideological preconceptions about the practice of formalism itself. By reassessing the intellectual commitments and institutional conditions that have shaped modernism in criticism as well as in the classroom, we are able to ask new questions about close reading that resonate across literary and cultural studies. Invigorating that critical venture, this volume enriches our vocabulary for addressing close reading’s perpetual development and diversification.
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Perpetual Carnival: Essays on Film and Literature. Oxford University Press, Incorporated, 2017.

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Capítulos de libros sobre el tema "Perpetual Modernity"

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Hashas, Mohammed. "Consolidating the idea of European Islam through perpetual modernity paradigm 1". En The Idea of European Islam, 209–33. New York, NY : Routledge, [2018] | Series: Routledge Islamic studies series ; v. 29: Routledge, 2018. http://dx.doi.org/10.4324/9781315106397-8.

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Cooper, Kate. "A Father, a Daughter and a Procurator: Authority and Resistance in the Prison Memoir of Perpetua of Carthage". En Gender and the City before Modernity, 195–212. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118234471.ch9.

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Martin-Jones, David. "Learning: Columbo vs Modernity". En Columbo, 121–46. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474479790.003.0005.

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The key question addressed in this chapter is, why are there so many machines in Columbo? Technology is often integral to the crime itself, and knowledge of how it works is vital to Columbo’s ability to solve the murder. Columbo’s proactive engagement with the rapid technological advances of modernity – his learning about new machinery – indicates the perpetual labour needed to avoid obsolescence in a hi-tech world. Columbo, constantly “upgrading” his technological knowledge to pay attention productively is an ‘entrepreneur of the self’ (Lazzarato 2014: 52), a mode of work-engaged subjectivity which neoliberal ideology advocates. Alongside the complex memory game which Columbo provides to hone viewer attention, this supplementary concern is one of realising how best an individual can learn such that they maximise attentive labour. Columbo’s engagement with modernity reassures that if lower middle-class “everyman” Columbo can master new machinery, anyone can. Screen media are key here. Those busily engaged in watching – paying attention, especially to film and television – are typically innocent figures. Those who misuse technology to give the impression of such “innocent” adherence to attentive labour (in fact, using technology to cover-up that they are engaged in criminality), attempt to “get away with murder”.
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Soyoung, Kim. "Modernity in Suspense: The Logic of Fetishism in Korean Cinema". En Korean Cinema in Global Contexts. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463729147_ch03.

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To examine local film in a situation at once peripheral and colonial but presently in a global capitalist state, I employed theoretical concepts such as translation as a cultural practice that could illuminate a set of predicaments in a cinema and a culture of a manic mode of condensed capitalist development, not to mention seemingly semi-perpetual partition. The essay unfolds the translation of the word “fetish,” revealing its complexity through the layers of meaning attached to it in its vicissitude of translation into Korean.
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Brodsky, Seth. "Fantasy & Fantasy (3)". En From 1989, or European Music and the Modernist Unconscious. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520279360.003.0009.

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This chapter argues that the present of postmodernism has come to seem like a stalled present, an agitated but idle meanwhile. This is precisely what Hasselhoff, Rostropovich, and Bernstein were trying to do, consciously and unconsciously: to show this perpetual present coming into being by putting on a show. It then considers the possibility that the pieces by Berio (Rendering), Goebbels (Befreiung), and Szymański (Kaleidoscope) are also doing the same thing. Rendering, Kaleidoscope, and Befreiung seem still to believe in modernity, or at least they wish for it and want it to appear, which is to say they act as subjects of a desire for modernity. In this they heed, before the fact, the first of Jameson's “four maxims of modernity”: they “cannot not periodize.” No one has told them that History is over. They seem still in the grip of “a powerful act of dissociation whereby the present seals off its past from itself and expels and ejects it.”
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Peneder, Michael y Andreas Resch. "Early origins of money". En Schumpeter's Venture Money, 23–34. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198804383.003.0002.

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Part I provides a synopsis of the ongoing stream of innovation in monetary and financial history, as well as the scholarly struggle to understand and assimilate it in the history of monetary thought. It serves as an introduction to the non-specialist, providing the general historical background. In the first of three chapters, the focus is on the early origins of money as a social institution. It is of significance to the later discussion of Schumpeter’s monetary theory for two reasons: first, the historical account illustrates the perpetual stream of new monetary arrangements and their importance to the real economy; second, the modern historical record puts into perspective the traditional preoccupation with metallism and the coinage of money as a means of exchange, which dominated the monetary orthodoxy at Schumpeter’s time. In other words, the early history of money highlights the modernity of Schumpeter’s later vision.
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Muazu, Rahina. "Oath-Taking and the Role of African Traditional Religion in Human Trafficking". En Handbook of Research on Present and Future Paradigms in Human Trafficking, 143–62. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-9282-3.ch010.

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There is relatively little empirical research into the supernatural enforcement of an agreement between two parties through the swearing of ritual oaths before a deity that belongs to the African traditional religion cosmology. An emerging but vibrant body of qualitative work has explored different aspects of ritual oath-taking as a method of control used by certain traffickers to keep their victims in perpetual bondage. Employing the epistemological sources of tradition, reason, experience, and community's interpenetration and interpretation, this study demonstrates that traffickers are simply utilizing commonly held beliefs and practices within ATR to exploit their victims and encourage human trafficking. Findings reveal that despite the current trends toward civilization, globalism, and modernity, the role of the spiritual realm in human affairs (human trafficking) bound with the high place given to ritual and symbolism remains critical in trafficking enterprise in the African worldview, regardless of the religious affiliation.
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Hutchinson, Ben. "Perpetual Incipience:". En From the Enlightenment to Modernism, 68–85. Modern Humanities Research Association, 2021. http://dx.doi.org/10.2307/j.ctv2dzzr3s.9.

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Flaherty, George F. "Gestures of Hospitality". En Hotel Mexico. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520291065.003.0005.

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In Chapter 4 the unfinished mega Hotel de México (started in 1966) performs as the double to the nation-state. The hotel—archetypal building of modernity—conceals its operations and administrative apparatus, very much like the ruling PRI. By extension, the metaphor of hospitality illuminates how this self-proclaimed host treated its citizens, “limiting” or “conditioning” their status as perpetual guests. The analysis of the late major mural by the famous Mexican muralist David Alfaro Siqueiros The March of Humanity on Earth and Towards the Cosmos (1964–71), housed in the cultural center adjacent to the Hotel, reveals contradictions that parallel the challenge of reconciling the revolutionary rhetoric with capitalist modernization faced by the regime and its elites. The chapter argues that militant Siqueiros contradicted the official vision of “cosmic communion” proposed by the architect Guillermo Rossel de la Lama by crafting the mural whose story lines and gestures, especially the motif of hands, contested Mexico’s political status quo, echoing the unruliness of the 68 Movement after the Tlatelolco massacre.
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Fraunhofer, Hedwig. "Artaud and the Plague: A Posthumanist Theatre?" En Biopolitics, Materiality and Meaning in Modern European Drama, 204–34. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474467438.003.0006.

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Artaud’s theatrical vision differs markedly from the representationalism and anthropocentrism of the “dramatic” theatrical tradition. Given the close relationality between theory and practice in Artaud’s work, this chapter puts his theatrical practice in conversation with his ground-breaking theoretical statements in The Theatre and its Double (1938), generally considered “the bible of modern theatre”. Sensory perception and affect are central to Artaud’s theatre. As the host of immunological tropes in his theoretical work shows, in Artaud’s theatre affect reaches the intensity of an epidemic. Instead of trying to fend off the anxiety that pervades modernity with dramatic representations, Artaud aims to physically and affectively immerse his audience in the sensory materiality and perpetual movement of the performance, co-producing spectators that experience themselves as physically and ontologically vulnerable. With Artaud’s notion of theatre as plague, the theatre as a performance of the spectators’ bourgeois politeness comes to an end. The immunitarian border shielding the spectators from contagion and violence or cruelty collapses. It is in his view of life as a universal force and in the use of heterogeneous theatrical tools that Artaud arguably becomes posthumanist.
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Actas de conferencias sobre el tema "Perpetual Modernity"

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Quintella, Ivvy Pedrosa Cavalcante Pessôa. "A concepção da forma urbana na escola francesa de urbanismo: rupturas e continuidades". En Seminario Internacional de Investigación en Urbanismo. Barcelona: Curso de Arquitetura e Urbanismo. Universidade do Vale do Itajaí, 2016. http://dx.doi.org/10.5821/siiu.6252.

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Até recentemente, a historiografia do urbanismo dedicada ao século XX privilegiou seu enfoque no relato do modernismo funcionalista propagado pelos C.I.A.M. Obscureceu-se a contribuição da “Escola francesa de urbanismo”, malgrado sua posição de destaque na constituição do campo disciplinar. Essa escola irá perpetuar a maior parte dos princípios compositivos da arte urbana, mas diante de novos desafios: conjugálos às demandas da modernidade e à cientificidade disciplinar. Este estudo propõe-se a observar as estratégias de concepção da forma nos planos urbanísticos dessa escola, buscando identificar as rupturas e continuidades com a tradição. Na presente comunicação, buscou-se discutir o salto que marcou a projeção dos atores da Escola Francesa para além da École des Beaux-arts, consolidando-os como urbanistas de renome internacional. Foram apresentados e discutidos os três projetos que inauguraram o sucesso dessa escola em concursos internacionais de urbanismo: Barcelona, por Léon Jaussey; Anvers, por Henri Prost; Camberra, por Alfred Agache. Until recently, the history of urbanism devoted to the nineteenth century focused on functionalist modernism propagated by C.I.A.M. These contributions darkened the "French school of urban planning", despite its prominent position in the constitution of the disciplinary field. This school will perpetuate most of the compositional principles of urban art, but facing new challenges: conjugating them to the demands of modernity and disciplinary scientific. This study aims to observe the design strategies on the urban plans of this school, seeking to identify the ruptures and continuities with the tradition. In this communication, we attempted to discuss the moment that marked the projection of the actors of the French School in addition to the École des Beaux Arts, consolidating them as internationally renowned urban planners. They were presented and discussed three projects that inaugurated the success of this school in international urban planning competitions: Barcelona, by Léon Jaussey; Anvers, by Henri Prost; Canberra by Alfred Agache.
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