Bibliografie tematiche / Modernism

Letteratura scientifica selezionata sul tema "Modernism"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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Articoli di riviste sul tema "Modernism"

Guerrero-Strachan, Santiago Rodríguez. "Juan Ramón Jiménez’s Reading of Edgar Allan Poe as a Source for a Cosmopolitan Modernismo". Edgar Allan Poe Review 23, n. 1 (2022): 37–54. http://dx.doi.org/10.5325/edgallpoerev.23.1.0037.

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Abstract The article explores Juan Ramón Jiménez’s attempt to be a member of the international Modernist generation. For such purpose he rearranges his poetry and the influences that were fundamental throughout his career. By claiming himself a member of the Modernist group, he has to redefine Spanish and Spanish American modernism as a movement that has international roots, Poe being one of them. The article analyzes Jiménez’s critical essays Alerta and El Modernism: Apuntes de un curso in which he explores the connections of the Spanish modernism to Modernism, creating a “modernismo” that is Jiménez’s own blend of the two.

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Shepherd-Barr, Kirsten. "Modernism and Theatrical Performance". Modernist Cultures 1, n. 1 (maggio 2005): 59–68. http://dx.doi.org/10.3366/e2041102209000057.

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In ‘Modernism and Theatrical Performance’ Kirsten Shepherd-Barr surveys the status of theatre within histories of modernisms and argues that despite a current claim to interdisciplinary awareness by modernist scholars, avant-garde theatrical performance remains marginalised by critical paradigms dominated by a focus on textuality and the divorce of the ‘performative’ from the theatrical within contemporary theory. She argues that narratives of modernism have yet to register the rise of performance as a field within drama and theatre studies, and advocates the re-establishment of theatrical activity within modernist historiography.

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Woodson, Jon. "The Group Composition of Literary Works by Esoteric Writers in the Modernist Period: A Critical Interruption of Afro-Modernism and Antimodernism". Journal of Foreign Languages and Cultures 4, n. 2 (28 dicembre 2020): 21–34. http://dx.doi.org/10.53397/hunnu.jflc.202002003.

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Like the other “new modernisms” Afro-Modernism does not exist beyond its role as a critical catchword. The readings given to African-American texts of the modernist period have been subjected to reductive treatments that have overlooked many factors. In this paper I will examine an unacknowledged feature of modernist works that radically changes the understanding of many important texts. One assumption of the critics of literary modernism is that individualism is a touchstone of the movement. One sign of the inapplicability of individuality to American modernism is the occurrence of esoteric group composition. The esoteric does not come into consideration by the literary critics who have established Afro-Modernism, so it is not within the scope of those investigations that challenges to individuality have been considered.

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Matar, Anat. "Wittgenstein and Modernism: an encounter of the third kind = Wittgenstein y el modernismo: un encuentro en la tercera fase". REVISTA DE HISTORIOGRAFÍA (RevHisto) 32 (20 novembre 2019): 53. http://dx.doi.org/10.20318/revhisto.2019.4894.

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Abstract: In earlier works, the author has twice discussed Wittgenstein’s work in relation to the modernist Geist that prevailed during his time. In the first, it was argued that the Tractatus was a modernist cornerstone, and then the idea was advanced that Wittgenstein’s later thought exemplified an essential modernist trait. Without contradicting these claims, a criticism is now offered on the aestheticism crucial to modernism and also to Wittgenstein’s thought.Key words: Wittgenstein, modernism, Tractatus, criticism, Aesthetics.Resumen: En el pasado, dos veces trabajé discutiendo sobre el trabajo de Wittgenstein en relación con el Geist que prevalecía en su época. Argüí, primero, que el Tractatus era una piedra angular y entonces continué la idea de que el último pensamiento de Wittgenstein ejemplificaba un esencial tratado modernista. Sin contradecir estos propósitos, ofrezco ahora una visión crítica del esteticismo crucial para el Modernismo y también para el pensamiento de Wittgenstein.Palabras clave: Wittgenstein, Modernismo, Tractatus, teoría crítica, estética.

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Kros, Dzonatan. "Modernism and tradition and the traditions of modernism". Muzikologija, n. 6 (2006): 19–42. http://dx.doi.org/10.2298/muz0606019k.

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Conventionally, the story of musical modernism has been told in terms of a catastrophic break with the (tonal) past and the search for entirely new techniques and modes of expression suitable to a new age. The resulting notion of a single, linear, modernist mainstream (predicated on the basis of a Schoenbergian model of musical progress) has served to conceal a more subtle relationship between past and present. Increasingly, it is being recognized that there exist many modernisms and their various identities are forged from a continual renegotiation between past and present, between tradition(s) and the avant-garde. This is especially relevant when attempting to discuss the reception of modernism outside central Europe, where the adoption of (Germanic) avant-garde attitudes was often interpreted as being "unpatriotic". The case of Great Britain is examined in detail: Harrison Birtwistle?s opera The Mask of Orpheus (1973?83) forms the focus for a wider discussion of modernism within the context of late/post-modern thought.

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Jacobson, Jeffrey Willever. "IMPOSSIBLE MODERNISM: T.S. ELIOT, WALTER BENJAMIN, AND THE CRITIQUE OF HISTORICAL REASON (2016)". Jurnal POETIKA 4, n. 2 (30 dicembre 2016): 134. http://dx.doi.org/10.22146/poetika.17533.

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Robert S. Lehman, dalam bukunya Impossible Modernism: T.S. Eliot, Walter Benjamin, and the Critique of Historical Reason (2016), memosisikan dirinya sebagai sarjana 'modernis tradisional'. Lehman menyatakan bahwa bukunya mengemukakan "suatu interpretasi atas modernisme Eropa". Namun, Lehman menemukan potensi dalam pemikiran Eliot dan Benjan untuk suatu kritik atas apa yang dia anggap sebagai "titik buta" kajian modernis baru, yakni, historisismenya.

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Jacobson, Jeffrey Willever. "IMPOSSIBLE MODERNISM: T.S. ELIOT, WALTER BENJAMIN, AND THE CRITIQUE OF HISTORICAL REASON (2016)". Poetika 4, n. 2 (30 dicembre 2016): 134. http://dx.doi.org/10.22146/poetika.v4i2.17533.

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Eysteinsson, Ástráður. "Modernism—Borders and Crises". Humanities 10, n. 2 (17 maggio 2021): 76. http://dx.doi.org/10.3390/h10020076.

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This article discusses the concept of modernism, as reflected for instance in attempts to find a manageable narrative frame for the history of literary modernism. The article argues that this attempt is complicated by modernism as an unruly and complex trend that manifests itself in different ways, and at different moments, as it enters into a complex dialogue with other trends within various linguistic communities. These different times and places of modernism also turn out to interact with one another through translations and other forms of reception that sometimes entail renewed modernist creativity. Discussing these significant aspects of modernism, the article also considers the problems critics of modernism face as they attempt to come up with a narrative framework for the history of modernism and its ongoing relationship with realism. A key point argued in the article is that to come to terms with both these trends we need to appreciate the ways in which modernism is linked to historical crises and traumas of our time, including the first and the second world wars. Paying particular attention to the interplay of Nordic and European modernisms, the article discusses how aspects of modernism have manifested themselves in Iceland, a Nordic island which may seem doubly removed from the European centres of modernism in cities such as London and Paris.

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Trehearne, Brian. "Canadian Modernism at the Present Time". Modernist Cultures 13, n. 4 (novembre 2018): 465–95. http://dx.doi.org/10.3366/mod.2018.0226.

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The article critiques major debates in Canadian modernist criticism and assesses their impact on readerships in the present time of anti-elitism, resurgent nationalisms, and widening distrust of expertise. Feminist critics articulate women writers' conflictual relations to the modernist canon and have restored or introduced disregarded female poets to an academic readership. Commentators on ‘antimodernism’ defend traditional writers of the period against modernist ridicule and suggest an antimodernist nostalgia for indigenous national authenticity within modernist writing itself. Leftist critics emphasize the political radicalism of major Canadian modernist writers as well as promoting and editing little-known authors who share their politics. Theorists critique the editorial practices of the field and promote genetic editing and digital publishing. Three less prominent trends are likelier to provoke and keep new readers for Canadian modernism: philosophically and ethically driven criticism; renewed attentiveness to cosmopolitanism in Canadian modernist discourse; and candid engagement with the problem of Canadian modernism's derivation from modernisms elsewhere.

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Love, Heather. "Introduction: Modernism at Night". PMLA/Publications of the Modern Language Association of America 124, n. 3 (maggio 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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Più fonti

Tesi sul tema "Modernism"

Carrasco, André de Oliveira Torres. "Os limites da arquitetura, do urbanismo e do planejamento urbano em um contexto de modernização retardatária: as particularidades desse impasse no caso brasileiro". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-02022012-101349/.

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Esta tese de doutorado tem como objeto de pesquisa o cenário de crise que envolve o desenvolvimento da arquitetura, do urbanismo e do planejamento urbano no Brasil no período compreendido entre a segunda metade do século XX e os primeiros anos do século XXI. Essa constatação se originou na análise das contradições entre os objetivos vislumbrados pela Arquitetura Moderna Brasileira, escola que definiria os rumos dessa produção e seus resultados. Um dos principais pontos de seu programa central foi a defesa da emancipação do homem, através da transformação de seu espaço. No entanto, sua produção passaria a expressar limites críticos a partir do momento em que as características assumidas pelo processo de modernização brasileiro, resultantes de sua forma de desenvolvimento no atual estágio do capitalismo, inviabilizaria a emancipação desejada e produziria cidades marcadas pela precariedade material e social. A hipótese central desenvolvida nesta tese trata das relações entre o caráter crítico - no sentido de se manifestar como uma situação perene de crise - da produção de arquitetura, urbanismo e planejamento urbano no Brasil e a formas particulares de desenvolvimento da crise do processo de modernização no país.
The research subject of this doctoral thesis was the crisis scenario that involves the development of architecture, urbanism and urban planning in Brazil in the period between the second half of the twentieth century and the early years of Century XXI. This finding originated in the analysis of the contradictions between the goals envisioned by the Brazilian Modern Architecture, a school that would define the course of this production, and its results. One of the main points of its central program was the defense of human emancipation through the transformation of its space. However, its production would express critical limits from the time when the characteristics assumed by the modernization of Brazil, resulting from its way of development at the present stage of capitalism, would make the desired emancipation and would have cities marked by material and social precariousness. The central hypothesis developed in this thesis deals with the relations between the critical nature - to manifest itself as a perennial state of crisis - of the architecture, urbanism and urban planning production in Brazil and the particular forms of the modernization crisis development in the country.

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Broad, Leah. "Nordic incidental music : between modernity and modernism". Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:8a2b5571-4bbc-4bed-9b99-4b66dbd1e12d.

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This thesis argues for the centrality of incidental music in early twentieth-century music history, based on a study of Swedish and Finnish theatre music between 1908 and 1926. The central claims made are firstly, that incidental music is an integral part of music history in this period, supporting a narrative about modernity that does not focus exclusively on "high art" concert music. Second, the Nordic countries were part of a cross-continental discourse concerning modernity that did not revolve solely around, or stem from, central European capital cities such as Vienna or Paris. Third, dramatic literature was fundamental to the development of twentieth-century music in Sweden and Finland. Through an examination of productions with music by Jean Sibelius (Svanehvit, 1908, and Scaramouche, 1924), Wilhelm Stenhammar (As You Like It, 1920), and Ture RangstrÃ¶m (Till Damaskus III, 1926), the thesis demonstrates that the early 1900s in these countries were characterised by stylistic plurality. For the first two decades of the 1900s, when Sibelius composed the majority of his works, multiple modes of expression where referred to as 'modern' with no clear hierarchy between them. By the 1920s, however, 'modernism' was emerging as a term consistently used to refer to atonality and concurrent theatrical styles dominant in central Europe. Rather than adopt these stylistic languages, Stenhammar and Rangström used 'modernism' as a category to define themselves against, presenting themselves as modern but not modernist composers.

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CRUZ, ALINE DUARTE DE OLIVEIRA. "MODERNITY AND MODERNISM IN LUIZ EDMUNDO´S MEMOIRE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9345@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Modernidade e modernismo nas memórias de Luiz Edmundo tem como objetivo analisar a vida de Luiz Edmundo e sua relação como jornalista e cronista com o desenvolvimento histórico da cidade do Rio de Janeiro a partir de suas memórias. Para isto, o trabalho analisa, tomando como base o material anteriormente citado, o que o autor entende como modernidade e quais foram as conseqüências sentidas pela cidade carioca e pela sua geração por conta da criação de uma mentalidade, referente aos períodos históricos nacionais entendidos pelo autor como colonial e imperial, e que seria responsável pelo atraso cultural nacional. O presente trabalho avalia, ainda, como o autor percebe o movimento de modernização da cidade, qual é a responsabilidade de sua geração literária em relação a este e, sobretudo, que relação se estabelece entre o autor e o mundo ocidental civilizado, através do conceito de cosmopolitismo.
Modernity and Modernism in Luiz Edmundo´s memoire has as principal object to show how a writer that was born in Rio de Janeiro, named Luiz Edmundo, in 1878, thinks about the historical process which was responsible for the colonial image of the city of Rio de Janeiro in his days of youth. In those days, working as a reporter and going to places in the town when most of the young people went for discuss about the most modern literature´s tendencies, Luiz Edmundo develops a way to understand the modern days and how his generation should act socially for embrace the cause of de Modernity in Rio de Janeiro. As principal concepts, the presented work talks about life and literature, Rio de Janeiro city before and after it´s modernization process and what for the author means being a modern man and a cosmopolitan.

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Teixeira, Ana Lucia de Freitas. "Modernidades em confronto: as literaturas modernistas brasileiras e portuguesa". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-19022010-154219/.

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Esta tese busca investigar as razões pelas quais foi necessário romper o diálogo, ou ao menos silenciar sobre ele, entre os escritores do Modernismo brasileiro e do Modernismo português. Envolvidos que estavam em uma problemática comum, a da renovação das linguagens artísticas, tanto modernistas brasileiros quanto portugueses encontraram um patamar comum no qual estabelecer seu enfrentamento mais direto: aquele que pudesse fazer ruir os parâmetros acadêmicos da arte nacional em prol de uma linguagem renovada cujos efeitos excederiam largamente o plano da literatura. Tanto em Portugal quanto no Brasil, desenvolveu-se um verdadeiro projeto que costurava uma renovação da linguagem artística com a modernização da própria nação, articulando, portanto, o movimento modernista com uma proposição de Modernidade. Daí que a noção de Modernidade que se pôde fazer brotar a partir de ambos os movimentos possui, na contramão do que se deu com o Modernismo centroeuropeu, uma marcada fisionomia nacionalista. Esse atributo comum é mobilizado na esteira da perspectiva de múltiplas Modernidades que podem ser formuladas dentro de cada um desses projetos modernistas e a partir das especificidades sociais de que cada um deles dispunha. A despeito dessa problemática de fundo comum, que mobilizou a ambos, as soluções textuais encontradas são bastante diversas: no caso brasileiro, tratou-se, na afirmação de uma autonomia nacional, de rasurar parte componente de seu passado e constituir um cânone literário que se estrutura sobre uma perspectiva auto-referida, como se a cultura brasileira não tivesse se originado de nada que não dela própria, numa perspectiva autóctone que é tão mais eficaz quanto mais velado é esse seu atributo; no caso português, tratou-se de abdicar de um dos mais fundamentais eixos do Modernismo, o da negação do passado, nele fincando a imagem a partir da qual foi possível fazer ressurgir um Portugal modernizado. É precisamente na saída encontrada por cada um desses movimentos para se compassar com as vanguardas modernistas centro-européias que reside a incompatibilidade que os levou a impedir um debate intelectual profícuo: como parte do passado negado pelo Modernismo brasileiro, Portugal é tomado por atrasado e posto de lado, a despeito da antecedência do seu movimento modernista; como figura não conivente com o mito do heroísmo desbravador do português que deu ao mundo moderno o traçado que ele tem hoje, o Brasil é interlocutor de somenos importância. É na discussão dos meandros dessas aproximações e distanciamentos que se estrutura esta tese.
This thesis investigates the reasons of the dialogue interruption or at least the silence between Brazilian and Portuguese modernist authors. Engaged to a common problematic, the renovation of artistic languages, both Brazilian and Portuguese authors were situated in a shared level to establish a more direct confrontation towards a renewed language that had effects which exceeded the limits of literature. The project developed in Brazil and in Portugal combined the renovation of the artistic language and the modernization of each nation, thus articulating the modernist movement to a modernity proposition. Consequently, the idea of modernity that could emerge of both modernist movements presents a nationalist aspect that is absent in the modernism developed in central Europe. Considering the social specificities in which each one of these movements were inserted, the nationalist aspect is mobilized in the perspective of the multiple Modernities that could be formulated by each one of these modernist projects. Despite the shared problematic that has concerned both movements, the textual solutions found by each one of them were different. The Brazilian case was based on the affirmation of the national autonomy by erasing its past and constituting a structured autonomous literary canon, as if the Brazilian culture had been originated in itself in an autochthonous perspective. In the Portuguese case, authors abdicated the denial of the past as one of the most fundamental aspects of Modernism. It was through past that the image of a modernized Portugal arose. Hence, the incompatibility that prevented the establishment of a proficuous intellectual debate among those authors was originated precisely from these different solutions managed by each one of the movements to compass themselves to other central European vanguards: as part of the past denied by Brazilian modernism, Portugal is considered obsolete and left aside, despite the anteriority of its modernist movement; as a figure that disregards the myth of the Portuguese heroism in exploring and tracing the modern world map, Brazil becomes a less important interlocutor. Thus, this thesis discusses the proximity and distancing of these two movements.

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Evans, Victoria Louise, e n/a. "Douglas Sirk, aesthetic modernism, and the culture of modernity". University of Otago. Department of Media, Film and Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080707.122544.

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In this dissertation, I argue that Douglas Sirk was attempting to dissolve the boundaries of the cinematic medium by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most popular studio produced films. While the exaggerated artifice of this director�s formal style has often been remarked upon, it has yet to be interpreted in the light of his detailed cognisance of the major art and architectural movements of the period, which include German Expressionist painting and Machine Age Modernist design. This is a lacuna that my thesis should at least partially fill, since I have shown that Sirk�s highly self conscious visual approach was deeply influenced by the artistic debates that were taking place in Europe during the 1920s and �30s and in America after World War II. To my mind, there is no doubt that this director�s syncretic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and I have sought to illuminate some of the social, philosophical and political meanings that it seems to convey.

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Kassab, Maroun Ghassan. "Beirut modernism: theoretical framework and case study". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13371.

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The main question that this research poses is: Where does Lebanese modernist architecture stand in terms of modernist architecture in general terms? The proliferation of modern architecture in Lebanon between the 1940s and the 1970s has been significantly neglected as a subject of research, documentation, analysis and criticism. This research attempts to fill a gap in the theoretical framework of understanding modern architecture in Lebanon. The research first establishes a rudimentary understanding of modernism in general terms, then explores the various theoretical approaches that the architectural discourse utilizes to address modernism in locales such as Beirut, namely “Orientalism”, “Critical Regionalism” and “Third World Modernism”. The research then explores the history of the development of architecture in Lebanon in three phases from 1860 till 1920, when Lebanon was under Ottoman rule; then from 1920 till 1943 when Lebanon was under the French Mandate, and then from 1943 till 1975 which are the modernist years after independence. The research will then focus of the modernist architecture of Beirut in a broad sense, then on Hamra District in a more specific venue, and then at the architecture of Hamra Street to get a more intimate picture of the development of modern architecture in the city of Beirut. In light of this investigation, a phase of reassessment of modernism itself is attempted, as well as a reassessment of the three modes of understanding, i.e. orientalism, critical regionalism and third world modernism. The findings of this reassessment are then considered in an attempt to establish a preliminary theoretical framework for understanding the development of modern architecture in Beirut.

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Oliveira, Isabel Cristina de. "Do Orpheu ao Dândi: os contos de Sá Carneiro e as crônicas de João do Rio". Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2084.

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Esta dissertação estuda dois importantes autores de língua portuguesa na literatura moderna: Mário de Sá Carneiro (português) e João do Rio (brasileiro). Ambos viveram as diversas transformações sofridas pela sociedade ocidental no final do século XIX e início do século XX. Nessa época as relações entre Brasil e Portugal estavam abaladas, mas havia um movimento de aproximação entre esses países, já que Portugal nunca deixaria de ser o berço do Brasil, não havia por que negar as afinidades. O que parece aproximar a escrita de Sá Carneiro e João do Rio são as transformações, em âmbito geral, sofridas no espaço temporal citado. Ambos influenciados pelas tendências que se originaram no centro cultural da época: a França. Essas tendências, chamadas de vanguardas, deram origem no Brasil e em Portugal ao movimento Modernista na Literatura. Em Portugal, Mário de Sá Carneiro participou da criação desse novo movimento literário com a revista Orpheu. No Rio de Janeiro, havia uma crescente modernização da vida política, social e cultural, era a verdadeira belle époque carioca, da qual João do Rio participou, ajudando no crescimento da crítica e do jornalismo de forma geral. Analisamos aqui alguns contos de Sá Carneiro e algumas crônicas de João do Rio. Nelas encontramos muito da crise moderna vivida por eles, realizamos através desse corpus aproximações entre os dois autores. Nesse processo de comparação, enfatizamos alguns aspectos modernistas, problematizando as diferenças e semelhanças, tendo intenção de identificar as influências e as circunstâncias que levaram tais escritores a escreverem da forma com que viam e viviam a cidade, a vida, a história de seus países como pano de fundo, apresentando de que forma essas duas personagens contemporâneas da vida artística cultural portuguesa e brasileira apresentaram em seus escritos a presença do cotidiano, o dia a dia da cidade, e a contradição com as correntes da época
This dissertation studies two important authors from portuguese language at modern literature: Mário de Sá Carneiro (portuguese) and João do Rio (brazilian). Both of them have lived the many changes suffered by ocidental society in the end of 19Ћ century and the beggining of the 20Ћ century. At this time the relations between Brazil and Portugal were disturbed, but there were an approach movement between these countries, but Portugal would never let being the birthplace of Brazil, there was no reason to deny the affinities. What seems approach the written of Sá Carneiro and Joao do Rio are the changes, in general scope, suffered in the mentioned time. Both were influenced by tendencies that were originated in the cultural center of that period: France. These tendencies called vanguards, they gave origin to the Modernist Movement in Brazil and Portugal. In Portugal, Mario de Sá Carneiro participated of the creation of this new literary movement with the magazine Orpheu. In Rio de Janeiro, there was a growing modernization at politics, social and cultural life, was the real belle époque of the city, wich Joao do Rio participated, helping the growing of the criticism and journalism in general. We analyze here some tales from Sa Carneiro and some chronicles from Joao do Rio. We find into them lot from the modern crisis lived by them, produce through that corpus approaches between both authors. In this process of comparison, we emphasize some modernists aspects, making troubles with the differences and the similarities, intending to identify the influences and the circumstances that took those writers to written the way they saw and lived the city, the life, the history from their countries as background, presenting wich way these two contemporary characters of cultural artistic life introduced in their papers the presence of the routine, the day by day of the city, and the contradiction with the currents of that period

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Sullivan, Kelly Elissa. "Epistolary Modernism". Thesis, Boston College, 2014. http://hdl.handle.net/2345/bc-ir:104185.

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Thesis advisor: Marjorie Howes
Epistolary Modernism reads British and Irish writing of the 1920s through the 1950s with a focus on the way authors use fictional letters and verse epistles to communicate a renewed sense of literature as public speech, even as they saw privacy curtailed and surveillance increased. Letters enable late modernist writers to call attention to the way literature straddles the gap between private experience and public declaration. Virginia Woolf, W.H. Auden, Louis MacNeice, Graham Greene and Elizabeth Bowen all use letters to reveal a late modernist belief in literature as an exchange between an author and a reader -- a bridge between times and perspectives -- even as they trouble the possibility of any clear communication or meaning. The implied exchange in letters requires a sense of correspondence: a letter demands both interpretation and a reply. But a letter is always already too late. Epistolary Modernism reads letters as a stand-in for the literary period of late modernism itself, an epoch of writing characterized by a sense of coming too late to history and to literary tradition. The project considers fiction and poetry published in the 1920s through the 1950s in relation to historical and cultural events of the period, arguing that the sense of belatedness and temporal disjuncture letters create fundamentally links the structure and materiality of the text to the social and political concerns of its author. These writers composed literature attuned to historical events and the simultaneously occurring ordinary moment, leading to an increasingly interconnected, and socially-responsible art borne from the historical impasse of the thirties, the Second World War and its political legacy. Letters enable these writers to continue aesthetic experiments while simultaneously addressing politics, society, and the purpose of literature itself
Thesis (PhD) — Boston College, 2014
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English

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Derouin, Jason. "Staging Modernism". ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/117.

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This thesis, which supports an exhibition of visual art, develops from Jean Baudrillard's philosophy of seduction. I have focused on the representation of the bachelor and his pad in American men's magazines from the mid-twentieth century. During this period, magazines such as Playboy, Escapade and Rogue created features on modern living to reassure an independent and affluent man that a dwelling with style and taste would ensure a happy bachelor life and facilitate intimacy. My photographs and collages add complexity to this portrait by framing this unique space as a stage where an unmarried man encircled by his lusty decor acted to entrance a woman.

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Angelella, Lisa. "Alimentary modernism". Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/225.

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Modernism often reveled in the loss of control, the permeation of personal boundaries, the introduction of ambiguity, that evocation of the senses brings about. It strove to loosen the structures and categories culture inscribes. In this dissertation, I argue that food scenes constitute the crux of many pivotal moments in Modernist fiction and express a philosophy of the human subject. Modernists argue that, in eating, a person takes the outside world into him or herself. The senses that precede, imbue and follow eating threaten and transcend the integrity of the subject. I argue that by foregrounding such moments, Modernists posited a phenomenological view of subjectivity, one which can best be illuminated by the work of Maurice Merleau-Ponty. Guided by his theory of intersubjectivity, I explore the phenomenological presentation of particular sensual encounters with food in the work of Ernest Hemingway, Katherine Mansfield, Virginia Woolf, James Joyce and Willa Cather. I show how characters, in their encounters with sensual otherness, feel themselves overcome in poignant moments of ecstasy, disgust, or revelation of self-constitution through the alimentary. I also argue that Modernist fiction does not only display Merleau-Ponty's phenomenology, but also nuances his timeless and placeless presentation of the encounter between a universal subject and any object, by considering the sensual eating experience within various historical food conditions, such as the explosion of the canned food industry and the gradual dissolution of the formal meal, and from various subject positions, based on gender, ethnicity or relative political empowerment. In engaging phenomenology, my project deviates from the long tradition in scholarship of considering symbolic and structural meanings to the occlusion of sense. In each eating scene I explore I consider how gustatory, haptic, and aromatic properties of food objects--such as liquidness, sweetness, bloodiness and lightness--intervene in more cerebral human relations. Fundamental to the fascinating Modernist depictions of food and eating, is the idea that the senses have an undeniable impact on human affairs in their own right.

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Più fonti

Libri sul tema "Modernism"

Eysteinsson, Astradur. The concept of modernism. Ithaca: Cornell University Press, 1990.

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L, Caughie Pamela, a cura di. Disciplining modernism. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2009.

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1932-, Bradbury Malcolm, e McFarlane James Walter, a cura di. Modernism: 1890-1930. Harmondsworth [Middlesex]: Penguin, 1986.

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Kedar, Dorit. Ḳaraṿag'iyo ke-modernisṭ: Modernizm mahu? Tel-Aviv: ha-Ḳibuts ha-meʾuḥad, 2000.

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Kedar, Dorit. Ḳaraṿag'yo ke-modernisṭ: Modernizm mahu? Tel-Aviv: ha-Ḳibuts ha-meʼuḥad, 2000.

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Eysteinsson, Astradur, e Vivian Liska, a cura di. Modernism. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/chlel.xxi.

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Whitworth, Michael H., a cura di. Modernism. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470690161.

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Matthews, Steven, a cura di. Modernism. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-06879-8.

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Ayers, David, a cura di. Modernism. Oxford, UK: Blackwell Publishing Ltd, 2004. http://dx.doi.org/10.1002/9780470776285.

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Levenson, Michael H. Modernism. New Haven, CT: Yale University Press, 2011.

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Capitoli di libri sul tema "Modernism"

Cicalò, Enrico, e Michele Valentino. "Modernism/Modernisms. The Two Souls of Modernity Before Modernity". In Digital Modernism Heritage Lexicon, 23–33. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76239-1_2.

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Punter, David. "Modernity and Modernism". In Modernity, 36–49. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1007/978-1-137-05030-4_4.

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Soufas, C. Christopher. "Conclusion: Modernity/Modernism". In Subject, Structure, and Imagination in the Spanish Discourse on Modernity, 171–76. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137532862_11.

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Jerath, Kavita S. "Modernity and Modernism". In Science, Technology and Modernity, 31–47. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80465-7_3.

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Weller, Shane. "Introduction: Modernity, Modernism, Nihilism". In Modernism and Nihilism, 1–14. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230294622_1.

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Cubitt, Sean. "Video, Modernity and Modernism". In Videography, 19–35. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23099-0_2.

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Acheraïou, Amar. "Modernism, Modernity and Imperialism". In Rethinking Postcolonialism, 115–20. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583573_7.

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Cook, Malcolm. "Perception, Modernism and Modernity". In Early British Animation, 95–135. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73429-3_4.

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Newall, Diana, e Grant Pooke. "Formalism, modernism and modernity". In Art History, 31–54. 2^a ed. Second edition. | Abingdon, Oxon ; New York : Routledge, 2021. | Series: The basics: Routledge, 2021. http://dx.doi.org/10.4324/9781315727851-21a.

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Cărăbaş, Irina. "Modernism versus Modernism". In Periodization in the Art Historiographies of Central and Eastern Europe, 248–62. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003178415-20.

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Atti di convegni sul tema "Modernism"

Margolin, Victor. "Brazilian Graphic Design in the ‘20s and ‘30s: Modernism and Modernity". In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-099.

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Fan, Kerry Sizheng. "Prelude to International Style: The 1927 Machine-Age Exposition". In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.31.

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In the mid to late-1920s, European Modernist designs began to appear in New York galleries. These appearances started rather sporadically, but soon evolved into a sensation and were joined by American indigenous Modernist works. Among these displays, the Machine-Age Exposition of 1927 stood out with its wide coverage of Modernist exhibits and a strong theme. Placing the Machine-Age Exposition in historical perspective, this study traces the origins of the Machine-Age Exposition, examines the Modernist exhibits and their accompanying rhetoric, and reviews the contemporary responses of the show. The study also investigates the limitations of the event, as well as the constituents that established the Machine-Age Exposition as the most important event in disseminating Modernism in America in the pre-International Style era.

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Liu, Qiong, Libing Liu, Feng Ma e Xiaying Lv. "Opinion on the Post-modernism". In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.204.

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Dankanich, А. S. "DANIEL HAQIQATJOU‘S CRITIQUE OF MODERNISM". In ХХVI СХОДОЗНАВЧІ ЧИТАННЯ А. КРИМСЬКОГО. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-346-3-27.

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Rudnicka-Bogusz, Marta. "Standardization and innovation in military housing, leisure homes and public buildings in the interwar period Poland." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002340.

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When after WWI Poland regained its independence, in the need to repair war damage the young state saw an opportunity to modernize and visually unify the country after a century of tripartite partitions. The difficult housing conditions severely affected the officers and non-commissioned officers (NCO’s), as the garrisons were established anew and the personnel did not have lodgings from the pre-war times and did not have the funds to purchase them. In 1925, an act was passed establishing the Military Housing Fund with a budget of 140 million polish zotych. In the years 1927-1934, the Fund built 542 houses. One of the mottos of the organization was: to provide sunlight, water supply, sewage systems and bathrooms in all apartments. This guiding principle about hygienic living and the strict economic requirements naturally put military construction on the path of modernism. Modernism was also deprived of any historic connotations and internationally popular, making it the ultimate tool of Europeanization - reducing the difference between Poland and Western Europe.Due to the rank of the institution and the propagandist significance of its investments, the Ministry of Military Affairs often had prestigious locations at its disposal. Many of the designs for these plots were selected through open competitions, leading to the selection of top-class solutions, thanks to the participation of the most important polish modernist architects of the interwar period: R. Gutt, J. Szanajca and B. Lachert. The campaign of housing construction was concentrated mainly in Warsaw, where the percentage of officers and NCO’s in the garrison was high - due to the tasks performed in the Ministry. Guided by the principle of economics of house construction and space ergonomics in the arrangement of apartments, in Warsaw the Fund built mainly multi-family buildings bearing fruit in the form of solutions that have ever since been cited as the canon of Polish modernism. Adhering to these standards typical layouts were worked out for swift and healthy construction and repeated throughout the country. This way, the best cosmopolitan patterns in the second half of the 1930s, when the construction was booming, were also transferred to smaller garrisons, contributing to the modernization of the deep provinces.Apart from the lack of housing, the military and their families suffered from pulmonary diseases and rickets resulting from poor living conditions. In order to remedy these problems, the Fund also dealt with the construction of sanatoriums, hospitals, physical education centers, as well as holiday homes for military personnel.The emerging democratic structures of the reviving state also wanted to be perceived as forward thinking, ordering designs from the Fund. Modernism was well suited for the design of the remaining garrison and state buildings, as they also needed to be functional, affordable to build, easy in maintenance and ergonomic. The influential period journal “Architecture and Construction” mentions such investments as airports, ministry offices, barracks, commanders' villas, etc. all adding up to an image of army as a forward thinking engine of progress.

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Pakeeza, Shahzadi. "ISLAMIC MODERNISM: EXIGENCIES OF CONTEMPORARY ERA". In 42nd International Academic Conference, Rome. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/iac.2018.042.037.

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"The Historical Evaluation of Modernism Design". In 2018 International Conference on Education Technology, Economic Management and Social Sciences. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etemss.2018.1667.

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Ge, Youjin. "Modernism Technique of Women in Love". In 3rd International Conference on Science and Social Research (ICSSR 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icssr-14.2014.176.

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Erofeev, Ilia. "Catholic Modernism Features of Marian Zdziechowski". In The Slavic world: Commonality and Diversity. Institute of Slavic Studies, Russian Academy of Sciences, 2023. http://dx.doi.org/10.31168/2619-0869.2023.1.26.

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Giordano, Lorenzo. "Structure and architecture between modernism and contemporaneity". In The 5th Electronic International Interdisciplinary Conference. Publishing Society, 2016. http://dx.doi.org/10.18638/eiic.2016.5.1.533.

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Rapporti di organizzazioni sul tema "Modernism"

Funk, Kellen, e Lincoln Mullen. Legal Modernism. Roy Rosenzweig Center for History and New Media, 2022. http://dx.doi.org/10.31835/legalmodernism.

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Catlin, Daniel D. The Haunted Inkbottle: Problems of Artistic Communication in Modernism. Fort Belvoir, VA: Defense Technical Information Center, luglio 1989. http://dx.doi.org/10.21236/ada216263.

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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, dicembre 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.

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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, aprile 2024. http://dx.doi.org/10.32370/ia_2024_03_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.

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Spolaore, Enrico, e Romain Wacziarg. Fertility and Modernity. Cambridge, MA: National Bureau of Economic Research, giugno 2019. http://dx.doi.org/10.3386/w25957.

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Prihadi, Cahyo. How workforce training is helping Indonesia modernise its economy. East Asia Forum, dicembre 2023. http://dx.doi.org/10.59425/eabc.1702634432.

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Los, Josyp. TOP ANALYTICS OF OPINION JOURNALISM: HISTORY AND MODERNITY. Ivan Franko National University of Lviv, febbraio 2022. http://dx.doi.org/10.30970/vjo.2022.51.11405.

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The article investigates the immortality of books, collections, including those, translated into foreign languages, composed of the publications of publications of worldview journalism. It deals with top analytics on simulated training of journalists, the study of events and phenomena at the macro level, which enables the qualitative forecast of world development trends in the appropriate contexts for a long time.

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Bane, Scott Campbell. Modernize Enduring National Security Nuclear Material Production Facility (MENSNMPF). Office of Scientific and Technical Information (OSTI), aprile 2019. http://dx.doi.org/10.2172/1511214.

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Maltese, Louis. For the Hard of Hearing: A Catholic Novelist Confronts Modernity. Portland State University Library, gennaio 2014. http://dx.doi.org/10.15760/honors.88.

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