Gotowe bibliografie tematyczne / Modernism (aesthetics)

Gotowa bibliografia na temat „Modernism (aesthetics)”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Modernism (aesthetics)"

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Martin, Regina. "Literature and Professional Society: Modernism, Aesthetics, and Ian McEwan’s Saturday". College Literature 51, nr 3 (czerwiec 2024): 316–44. http://dx.doi.org/10.1353/lit.2024.a931856.

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Abstract: Ian McEwan’s novels are well-known for their ongoing conversation with turn-of-the-twentieth-century modernism. This essay argues that McEwan’s novel Saturday engages with two modernist problematics—modernist interrogation of aesthetics and the emergence of the professional classes during the modernist era. Reading McEwan’s novel through and against its modernist antecedents, Mrs. Dalloway and Howards End , provides a means of understanding how, in modernist novels, a discourse of literary and aesthetic value exists as a function of the tension between leisure-class and professional-class ideologies. The triangulation of modernism, Saturday , and discourses of professionalism in the essay provides a theoretical framework for historicizing the perennial conflicts between theoretically informed literary criticism and “new aestheticism,” “new formalism,” and most recently, “postcritique” within the context of professional class hegemony.
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Moore, Daniel. "Editor's Introduction: Modernism, Aesthetics, Historiography". Modernist Cultures 3, nr 2 (maj 2008): 94–99. http://dx.doi.org/10.3366/e2041102209000355.

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Aesthetics is the reflexive construction of the concepts necessary for the comprehension of the stakes and meaning of art in the light of the history of the dominant art of the second half of the 19th century and the first half of the 20th century: modernism. The task of aesthetics is to vindicate modernist art's own claim to mattering, to being significant, indeed unavoidable, for our collective selfunderstanding of ourselves as denizens of modernity. (J. M. Bernstein)
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Steinberg, Michael P. "The Politics and Aesthetics of Operatic Modernism". Journal of Interdisciplinary History 36, nr 4 (kwiecień 2006): 629–48. http://dx.doi.org/10.1162/jinh.2006.36.4.629.

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A survey of European trends and works suggests that the extent to which operatic modernism resists the pull of ideology may well depend on two factors: the post-Wagnerian recuperation of the primacy of voice and the proclivity of modernist operatic texts and music to engage (rather than repress) nostalgia. One work not usually included in modernist canons, Erich Korngold's Die Tote Stadt, presents an interesting model.
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Gannon, Matthew. "The Aesthetic Death Drive of Modernism". differences 31, nr 2 (1.09.2020): 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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Marshik, Celia. "THE CASE OF “JENNY”: DANTE GABRIEL ROSSETTI AND THE CENSORSHIP DIALECTIC". Victorian Literature and Culture 33, nr 2 (9.08.2005): 557–84. http://dx.doi.org/10.1017/s1060150305050989.

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DANTE GABRIEL ROSSETTIand his artistic circle are emerging as privileged sites of modernist genesis. Studies by Jessica Feldman (Victorian Modernism: Pragmatism and the Varieties of Aesthetic Experience) and Allison Pease (Modernism, Mass Culture, and the Aesthetics of Obscenity) include Rossetti and Algernon Swinburne, respectively, in their reassessments of modernism. In a complementary move, Jerome McGann argues inDante Gabriel Rossetti and the Game That Must Be Lostthat Rossetti's art anticipates Imagism (44) and is characterized by a “hyper-realism that anticipates certain Postmodern styles” (32). Such work implicitly questions, in Feldman's words, the narratives of “strife, loss, [and] rupture” (4) that have been told about modernism's relationship with its predecessors. By linking nineteenth- and twentieth-century artists in a historical trajectory of aesthetic change, as Pease does, or by effacing the historical through a “web” of Victorian modernism, as Feldman does, it becomes possible to see new relations among authors previously separated by critical practice. Rossetti and associates enjoy a new spotlight as they become modern through their aesthetic productions and domestic arrangements.
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Ramírez Jaramillo, John Fredy. "Las apreciaciones estéticas de Tomás Carrasquilla". Estudios de Literatura Colombiana, nr 24 (11.08.2011): 161–79. http://dx.doi.org/10.17533/udea.elc.9865.

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Resumen: Este ensayo ofrece un acercamiento a las concepciones estéticas más representativas de Tomás Carrasquilla relacionadas con la actividad creadora, la finalidad del arte, la crítica literaria, la noción de belleza y la reflexión sobre el arte cinematográfico de su época. Si bien parte de sus planteamientos estéticos surgen como una respuesta crítica al naciente modernismo en Colombia, se expondrán las evidencias por las cuales hay que convenir que la postura asumida por el autor antioqueño no puede interpretarse como una actitud de total rechazo hacia los postulados de dicha corriente. Descriptores: Tomás Carrasquilla; Arte; Sinceridad; Crítica literaria; Estética; Belleza; Arte cinematográfico. Abstract: This essay offers an approach to Tomas Carrasquilla’s most representative aesthetics conceptions, such as: creative activity, the aim of art, literary critique, beauty and his thoughts about the cinematography of his time. Although it is true that a great deal of Carrasquilla’s aesthetics arises as a critic answering against the early Modernism in Colombia, several evidences will be exposed here which prove that Carrasquilla´s position cannot be interpreted as an attitude of total rejection towards the modernist premises. Key words: Tomás Carrasquilla; Art; Literary criticims; Aesthetics; Cinematographic art; Modernism
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Wang, Bowen. "The Materialisation of “torrential languages” within the Avant-Garde: Mina Loy, James Joyce, and Aesthetic Modernism". Prague Journal of English Studies 11, nr 1 (1.07.2022): 67–88. http://dx.doi.org/10.2478/pjes-2022-0004.

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Abstract Modernist literature was obsessed with a metaphysical problem regarding the word. A series of formal and material experiments started to address the word’s self-referentiality and aesthetic autonomy, against the backdrop of a new sociocultural milieu in the early twentieth century. To discover how this materialisation of language explored the interplay of literary and artistic modernisms, this paper will critically scrutinise Mina Loy’s and James Joyce’s radical reforms of writing and try to answer the following questions: how did Loy’s multifarious artisthood and poem-writing exchange, interact with, and reinforce each other? As both were closely associated with avant-garde art movements between Europe and America, how did Joyce influence Loy’s refashioning of “torrential languages” (LoLB 88) as a creative model of linguistic experimentation? How did their visual aesthetics and experimental poetics help to declare the independence of language and the shape of aesthetic modernism in a new historical epoch?
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Syzdykova, B., A. Kaiyrbekova i B. Orazova. "National literature of the post-socialist realism era". Bulletin of the Karaganda university Philology series 1, nr 109 (30.03.2023): 123–31. http://dx.doi.org/10.31489/2023ph1/123-131.

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This article discusses the artistic trends of the 60s of the twentieth century. The aesthetic concepts of socialist realism, Romanticism, modernism and postmodernism are discussed, as well as the peculiarities of their development in Kazakh literature. The article analyzes the ideological and aesthetic concepts that opposed the socialist realism of that period. The works published during the period of post-socialist realism reflect the ways of development of modernist aesthetics. The features of new characters in literature are revealed. In addition, the article scientifically analyzes the formation of artistic systems and their methods with such features as a special spiritual connection of a person with the surrounding life of that era, personal relations between society and the individual. It is known that in the Kazakh prose of the 1970s and 80s, the well-established modernist aesthetics is closely connected with neo-mythologism. Based on this, relying on the conclusions of the world literary science, we will focus on the problem of neo-mythologism in the works of Kazakh writers. The article describes the influence of modernism and postmodernism on modern Kazakh prose and aesthetic principles of neo-mythologism, reflected in the national prose of the 70s of the twentieth century. The article makes a comparative analysis of scientific concepts of domestic scientists, as well as world research works.
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Beleza, Fernando. "Mário Domingues, Race, and the Black Modernist Novel in Portugal ( O preto do Charleston [1929])". Portuguese Studies 40, nr 1 (2024): 30–45. http://dx.doi.org/10.1353/port.00004.

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Abstract: This article explores the novel O preto do Charleston (1929), by the Black Portuguese writer, journalist, anarchist, and anti-racist/anti-colonial activist Mário Domingues (1899–1977), considered against the backdrop of the racial regimes of Portuguese modernism and the transnational currents of the Black Atlantic. It argues that Domingues's political thought and the cultural influences of the Black Atlantic, along with his place as a Black intellectual and artist in early twentieth-century Lisbon, shaped his literary production, whilst the exploration of modernist literary themes and aesthetics in his novel offered the Príncipe-born writer new and original ways of addressing his anti-racist, anti-colonial, and anarchist ideas. More precisely, I propose that, in O preto do Charleston , Domingues challenged Fernando Pessoa's (1888–1935) narrative of aesthetic and national renewal with a Black modernist critique of modernity and its racial hierarchies, claiming a place for his literary production in the context of both Portuguese modernism and the modernisms of the Black Atlantic. Resumo: Este artigo explora a novela O preto do Charleston (1929), do escritor, jornalista, anarquista e activista antirracista/anticolonial português Mário Domingues (1899–1977), considerada no contexto dos regimes raciais do modernismo português e das correntes transnacionais do Atlântico Negro. Argumento que o pensamento político de Domingues e as influências culturais do Atlântico Negro, juntamente com o seu lugar enquanto intelectual e artista negro no início do século XX lisboeta, moldaram a sua produção literária, enquanto o recurso a temas literários e opções estéticas modernistas ofereceram ao escritor nascido na Ilha do Príncipe formas novas e originais de tratamento das suas ideias antirracistas, anticoloniais e anarquistas. Mais precisamente, proponho que, em O preto do Charleston , Domingues desafiou a narrativa de renovação estética e nacional de Fernando Pessoa (1888–1935) através de uma crítica modernista Negra da modernidade e das suas hierarquias raciais, afirmando um lugar para a sua produção literária simultaneamente no contexto do modernismo português e dos modernismos do Atlântico Negro.
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Kliger, Ilya. "Heroic Aesthetics and Modernist Critique: Extrapolations from Bakhtin's Author and Hero in Aesthetic Activity". Slavic Review 67, nr 3 (2008): 551–66. http://dx.doi.org/10.2307/27652939.

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Ilya Kliger addresses the question of Mikhail Bakhtin's intervention in modernist discourse by taking a step back from Bakhtin's views on modernist literature and outlining instead a more general Bakhtinian conception of the modernist condition as characterized by what Kliger calls “a crisis of authorship.” The article focuses on Bakhtin's early work in narratological aesthetics and situates it within the longue durée context of debates about the status of the subject of aesthetic experience and, more generally, of knowledge, debates that can provisionally be seen as originating at the end of the eighteenth century and coming to a head within the intellectual and creative milieu of twentieth-century modernism. Early Bakhtin helps us formulate a specifically modernist—by contrast with what will be called “transcendental” and “realist“—critique, a critique not limited to the field of literary analysis alone but applying to all forms of thinking that either presuppose abstract subject-object division or rely on modes of synthetic reconciliation.
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Rozprawy doktorskie na temat "Modernism (aesthetics)"

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Costello, Diarmuid. "Aesthetics after modernism". Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395872.

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Evans, Victoria Louise, i 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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Buchanan, D. A. "Aesthetics, art and Utopia : the philosophical significance of the discourse of aesthetics". Thesis, University of Reading, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296698.

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Melberg, Arne. "Sara Danius, The Senses of Modernism. Technology, Perception, and Modernist Aesthetics. Uppsala 1998". Uppsala : Svenska Litteratursällskapet, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-200754.

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Barker, Jennifer. "The aesthetics of resistance modernism and antifascism /". [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3178431.

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Thesis (Ph.D.)--Indiana University, Dept. of English, 2005.
Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2208. Adviser: Thomas Foster. "Title from dissertation home page (viewed Nov. 27, 2006)."
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Adams, David Alexander. "Mimesis and Modernism: Jacques Maritain's Early Aesthetics". Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20849.

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Jacques Maritain’s early secular aesthetic theories have been interpreted too hastily. The goal of this study is to offer a more accurate reading of them than has been formulated previously. It is also to appraise them, as regards their merits as explanations of concrete phenomena—this has not been done before. In order to achieve these aims, Maritain’s principal early work on aesthetics Art et scolastique will be analysed at length, herein. The problematic methods by means of which the scholarly tradition has interpreted this book will be examined, and their influence on its reception will be assessed. Maritain’s elementary philosophy will be described, insofar as it is related to his early aesthetics. A sketch of Art et scolastique will be drawn, in order to clarify the various purposes to which Maritain puts its disparate sections. This is necessary, if confusion is to be avoided. Maritain’s new early secular aesthetic theories will then be identified, and evaluated. Special attention will be paid to his early theory of mimesis, which is quite ingenious. It will be shown that his new early secular aesthetic theories are far more original and far more penetrating than they have been represented to be, even by those scholars who are most under Maritain’s spell. As a result, it will be seen that these theories deserve much closer consideration than they have so far received.
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Buchanan, Stephanie Elizabeth. "Counter-statements : modernist aesthetics and social change /". Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Howell, Catherine Mary Louise. "The aesthetics of colonial modernism : Klee, Camus, Bowles, Tournier". Thesis, University of Cambridge, 2004. https://www.repository.cam.ac.uk/handle/1810/273418.

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Johnson, Jennifer. "Georges Roualt's modernism and the question of materiality". Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:5e1ac77a-ba70-41e8-a3cd-5189723f487f.

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The central concern of my thesis is to bring into focus the problematic relation between Georges Rouault's (1871-1958) pictorial vocabulary and his subject matter: on the one hand, abstract mark-making and on the other, a refusal to cede to abstraction or formalism through an insistence that these marks remain yoked to representation. The result is an examination a way of painting that embraces its state of uncertainty, which interrogates its own construction, and strains against the very materiality it simultaneously celebrates. Chapter one traces the critical reaction to Rouault's painting in the early years of the twentieth century, which was at best mystification, and at worst, disgust. This chapter also analyses the thick painterly terms of these paintings and their resistance to conventional meaning, arguing that there are parallels between Rouault's project and contemporary experimental forms of art and literature within modernism. Chapter two continues this exploration, attending to the various relationships between surface and depth that are interrogated by Rouault's canvases. These relationships reveal the deep philosophical and theological questions at stake Rouault's painting. Chapter three explores a theological reading of Rouault's work beginning with the aesthetics of his associate, the French Catholic philosopher, Jacques Maritain - a reading that shows how painting can be true to its material conditions and strain towards a higher, albeit obscure, form of knowledge. Against this, the last chapter argues that the paintings also support the possibility of a bleaker world-view, aligned with Dostoyevsky's kenotic theology, in which matter potentially overwhelms the possibility of transcendental meaning. In conclusion, I argue that Rouault's painting interrogates the vocabulary of modernism and presents the 'fallen' or 'wounded' state of a painting that acknowledges its material conditions.
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Stannard, Iain. "Michael Tippett and modernism : aesthetics and instrumental works, 1962-1977". Thesis, University of Newcastle Upon Tyne, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401852.

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Książki na temat "Modernism (aesthetics)"

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Press, Duke University, i Duke University Press, red. Tropical aesthetics of black modernism. Durham: Duke University Press, 2021.

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Eysteinsson, Ástráður, i Liska Vivian 1956-, red. Modernism. Amsterdam: J. Benjamins Pub., 2007.

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1968-, Bourne-Taylor Carole, i Mildenberg Ariane 1971-, red. Phenomenology, modernism, and beyond. Oxford: P. Lang, 2010.

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Peter, Murphy, red. Dialectic of romanticism: A critique of modernism. London: Continuum, 2004.

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Bourne-Taylor, Carole. Phenomenology, modernism, and beyond. Oxford: P. Lang, 2010.

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Ziarek, Ewa Płonowska. Feminist aesthetics and the politics of modernism. New York: Columbia University Press, 2012.

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Vargish, Thomas. Inside modernism: Relativity theory, cubism, narrative. New Haven, Conn: Yale University Press, 1999.

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Eidam, Heinz. Discrimen der Zeit: Zur Historiographie der Moderne bei Walter Benjamin. Würzburg: Königshausen & Neumann, 1992.

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Melberg, Arne. Aesthetics of prose. Oslo, Norway: Unipub, 2008.

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L, Caughie Pamela, red. Disciplining modernism. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2009.

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Części książek na temat "Modernism (aesthetics)"

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McIntire, Gabrielle. "Modernism and Bloomsbury Aesthetics". W Virginia Woolf, 60–73. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-43083-0_5.

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Tilghman, B. R. "Modernism, Modern Aesthetics and Wittgenstein". W Wittgenstein, Ethics and Aesthetics, 1–20. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21174-6_1.

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Mickalites, Carey James. "Dubliners’ IOU: Joyce’s Aesthetics of Exchange". W Modernism and Market Fantasy, 61–85. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230391536_3.

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Heuvel, Mike Vanden. "Good Vibrations: Avant-Garde Theatre and Ethereal Aesthetics from Kandinsky to Futurism". W Vibratory Modernism, 198–214. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137027252_10.

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Costello, Diarmuid. "Modernism and Formalism". W Aesthetics After Modernism, 35–68. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197756423.003.0004.

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Abstract With Chapter 1’s reconstruction of the internal structure of Greenbergian theory in place, Chapter 2 provides a critique of each wing of his theory in turn. With respect to Greenberg’s formalism, the author takes issue with his understanding of the ‘objectivity’ of aesthetic judgement and his notion of aesthetic ‘distance’, and brings out the incompatibility of both with Kant’s aesthetics, turning on Kant’s conception of ‘subjective universality’ and ‘disinterest’, respectively. With respect to Greenberg’s modernism, the author questions his conviction that the arts can be parsed on non-question-begging grounds, either in terms of medium or the sensory modality through which they are intuited. For this is to assume that the arts are separate in principle simply because they have to date been (largely) separate in practice, an assumption that is put in doubt by the conflicted place of modernist sculpture within Greenberg’s own division of the arts. Despite his medium-specificity, Greenberg’s account of modernist history required him to provide a broadly pictorial defence of modernist sculpture’s value as art.
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"Aesthetics after Modernism". W The Symbolic Order, 142–58. Routledge, 2005. http://dx.doi.org/10.4324/9780203975343-22.

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Costello, Diarmuid. "The Afterlife of Formalist Criticism II". W Aesthetics After Modernism, 164–94. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197756423.003.0009.

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Abstract Arthur Danto takes ‘the Kant-Greenberg aesthetics of form’ to be manifestly inadequate not only to the readymades, but to much contemporary art since Duchamp’s gesture was taken up by Warhol’s generation. Aesthetic theory claims one can tell art from non-art on the basis how each looks and makes viewers feel, when art with real world ‘indiscernible counterparts’ demonstrates that we have no reason to respond differently unless we already know that one is art. In sum: aesthetic theories beg the question they ought to answer. The author questions whether this is the question that aesthetic theories ought to answer but, setting that to one side, Danto’s own theory can be shown to need an aesthetic component on pain of being unable to distinguish works of art from ‘mere representations’. Entities that (like art) represent the world as being some way, but (unlike art) without projecting any attitude designed to dispose viewers to view that fact in any particular way. Rhetorical inflectors discharge this function in Danto’s ontology, showing his theory to be aesthetic despite himself.
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Costello, Diarmuid. "Modernism and Formalism". W Aesthetics After Modernism, 8–34. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197756423.003.0003.

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Abstract Chapter 1 provides a philosophical reconstruction of the internal structure of Greenbergian theory, affording it the kind of sustained, scholarly attention that it has not previously received from a philosopher. Treated in the round—and not, as is more typical, dismissed on the basis of some of the more obvious argumentative shortcomings of his better-known essays—Greenbergian theory repays such treatment. The theory marries a formalist conception of aesthetic judgement with a medium-specific theory of artistic development. The chapter focuses on the depth of the connection Greenberg succeeded in forging between these two wings of his theory, pivoting in particular on his understanding of artistic conventions. Modernism works by artists testing the conventions of a given medium as they inherit them as to their necessity or otherwise. Formalism works by judging the state in which a work leaves the conventions of its medium having so tested them. The upshot was a tight correlation between aesthetic value and medium-specificity at the core of Greenbergian theory.
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O’Brien, Nanette. "Conclusion". W Food and Culture in the Works of Ford Madox Ford, Gertrude Stein, and Virginia Woolf, 200–204. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198871729.003.0006.

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Abstract The Conclusion: Cooking Civilization, Tasting Modernism considers modernist aesthetics and taste while introducing the idea of modernist leftovers, or what is left over for future generations when modernists cook, eat, and write about food, society, and civilization. The conclusion begins with Edith Wharton’s more traditional notion of the idea of taste, especially French taste, as adjacent to culinary aesthetics. It goes on to consider how Ford, Stein, and Woolf have all taken up themes of culinary tradition and heritage while engaging with political, social and aesthetic questions. In doing so, these authors further push modernist conceptions of form, while drawing from their own lives and working to imagine a creative ideal for civilization.
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Lemke, Sieglinde. "Introduction: Was Modernism Passing?" W Primitivist Modernism, 3–9. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195104035.003.0001.

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Abstract This book is concerned with exploring the formal connections between “white” and “black” cultures in early-twentieth-century art and literature. Instead of juxtaposing white modernism with a “black counter-modernism;’ as Houston Baker does in his important study, Modernism and the Harlem Renaissance, I have sought to trace how both are inextricably interrelated. Nor is this book an attempt to define a pure, black aesthetics, as is Richard J. Powell’s book Blues Aesthetics, Black Culture, and Modernism. Rather than talking about interracial friendships, moments of political cooperation, or an historically ignored black modernism, my focus will be aesthetic collaboration.
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Streszczenia konferencji na temat "Modernism (aesthetics)"

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Fu, Xin. "Study on the Spirit of Modernism Related to Form Formal Aesthetics in Corbusier's Early Modernist Architectural Theory". W Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.161.

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Kiely, Joss. "Lights, Camera… Aluminum!: Materiality and Monumentality in Welton Becket’s Masterplan of Century City, CA". W The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5052p8ncv.

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The scale and ambition of the masterplan doesn’t fit neatly in either architecture or urban planning, and therefore, the history of master planning as a practice, its aesthetics and its ethics have long existed at the margins of both disciplines. In the postwar period, masterplan proposals designed by architects committed to high modernist ideals reimagined cities as orderly and aesthetic agglomerations – but with considerable anticipation of large-scale growth and development – both in the United States and abroad. As architects moved away from solely designing buildings to spearheading larger scale planning projects – straining their disciplinary expertise to the border of urban planning – an important transition took place. This shift might be best understood as a blend of omniscience and naivete, a stance that required architects to suspend specific knowledge to champion broad visionary pursuits. This paper considers an important aspect of everyday life: leisure time. Much touted by the tenets of high modernism, the ability to carve out time to “play” was largely a modern luxury, and this played out in a variety of projects worldwide, from beach resorts in Hawaii and ski resorts in France, to reimagined cities within cities, such as the masterplan for Century City, California in the Los Angeles Basin. Welton Becket’s 1963 urban vision called for the replacement of Hollywood studio lots with a composed entertainment, shopping and living centre focused on the needs of the Southern California entertainment industry. The ultimate buildout includes projects by a wide variety of late modernist architects, including Minoru Yamasaki, Charles Luckman and I. M. Pei, and it joins a long list of projects that champion leisure aesthetically expressed through architecture and planning schemes. Taken together, such projects underscore the increase in leisure, vacation time and conspicuous consumption that occurred after World War II and continues into the present day.
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Fries-Briggs, Gabriel. "Device-Media-Architecture: Julia Child’s Kitchens". W 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.32.

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This paper traces a lineage of device-as-architecture through the mediatization of Julia Child’s kitchens. A historical survey of the changes to her kitchen and its relationship to interior design during the latter half of the 20th century suggest a reading of interior architecture not as a means to house new technology but rather as composed by technology and devices. Counter to Ryener Banham’s projection of a future where interior technologies give shape to an architectural exterior, Child’s kitchen reflects a growing trend in the second half of the 20th century in which tool-based clutter and the interior’s autonomy from the exterior, best characterized by the storage-accumulation aesthetics of lofts and garages, dominated. Rather than necessarily limiting the role of the architect to exterior form, the elevation of gadgets, gizmos, and devices to the status of architecture opened up the possibility for a functional user-driven design agency. Analysis of the kitchen backdrops that served as sets for her various cooking shows as well as the cataloging and installation of her kitchen in the Smithsonian Museum of American History reveal an evolution of architectural interiors that shifted with her own identity and paralleled shifting domestic aesthetics away from minimalism, modernism, and post-World War II home automation. This examination of Julia Child’s kitchens frame a narrative of domestic design beginning in the 1960s when tools and technology were increasingly seen as the backbone of a new ecological or environmental society. Julia Child’s display of functional clutter took part in popularizing a new craft aesthetic where tools were prominently displayed and often collectively used. The images of her kitchen, spanning four decades, provide a context for changing cultural and architectural discourse in relation to the aesthetics of function, devices, media, and attitudes toward preservation.
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Marfella, Giorgio. "Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia". W The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4000pi5hk.

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Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building. The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII. Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.
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Dzikevich, E., i S. Dzikevich. "AESTHETIC HERMENEUTICS: PARADIGMAL NETWORK". W Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2536.978-5-317-06726-7/14-18.

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This article is devoted to preparation of a theoretical platform for constructive postmodernist investigations in the aesthetic. The text builds a paradigmatic framework for critical thinking non-discursive communication and non-verbal rhetoric, which may be able to overcome the epistemological limitations of modernist and deconstructive postmodernist cognitive attitudes. The article summarizes the essential part of the ideas of the fundamental monograph, which is currently in work.
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Bogatyreva, E. "AESTHETICS IN THE CONTEXT". W Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2545.978-5-317-06726-7/56-57.

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The report is dedicated to new expectations related to aesthetics at the turn of the 2010-2020. After discussions about modernity and postmodernity, aesthetics is updated again. This time, its relevance is associated with the spread of digital art and Internet communication.
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Song, Zhanhai. "National Vision and Aesthetics Playing and Singing Art of Maqu Under the Construction of Aesthetic Modernity". W Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.79.

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Ustiugova, E. "STYLIZATION PHENOMENON FROM THE PERSPECTIVE OF HERMENEUTICS". W Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2544.978-5-317-06726-7/51-55.

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Stylisation is a communicative formation where many levels of meaning and forms intersect. The range of interpretation strategies is driven by the historical and cultural context,which sets out its requirements and assessment criteria. Stylisation can be seen as dialogue, intertext, game, aesthetic visibility, simulacrum, creative expression, as a technique that is part of the foundation of a particular style (classicism or modernity), the action of the linguistic system of culture itself, as a communicative space for total transformation (postmodern). If stylisation is based on the principle of directed communication between style, styliser and reci pient, stylisation as a structural principle of the text becomes a medium and the reci pient becomes a co-creator improvising on the basis of the structure of the message. The interpretation of the author's stylised message is carried out in playing activities on the boundaries of cultural codes. In the postmodern space characterised by the absence of a super code, stylisation operates in a quasi-subject situation,which is based on the principle of correlation and mismatch. Postmodern stylisation is not interpreted,as the reci pient becomes a co-participant in an event in which the recipient does not create or decipher the text tobe read, but produces the context of the intertextual game of code collision.
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Zhang, Yunfan, i Eakachat Joneurairatana. "Integrating Tradition with Modernity: Transformation of Tang Dynasty Aesthetics in Contemporary Costume Design Through Dunhuang Mural Inspirations". W 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004913.

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This study delves into the aesthetic elements of clothing in China's Dunhuang murals from the Tang Dynasty, aiming to understand their transformation and inheritance in contemporary costume design. It seeks to reveal the integration of traditional culture with modern fashion, emphasizing the fusion of ancient and modern aesthetics and its impact on the contemporary costume industry. The methodology involves analyzing Tang Dynasty costume characteristics as portrayed in Dunhuang murals, focusing on aspects like smooth lines, simplicity, and color coordination. It then examines how these aesthetics are transformed and inherited in current costume trends, highlighting the innovative integration of classical Tang elements into modern designs. The findings indicate that this creative blend leads to fashionable attire that resonates with both classical and contemporary tastes, diversifying design styles and revitalizing the clothing industry. Conclusively, the study underscores the significant influence of Tang Dynasty aesthetics on contemporary dress culture. The adaptation and modern reinterpretation of Tang attire not only enrich the contemporary clothing market but also deepen the appreciation of traditional Chinese culture. This research offers fresh insights into cultural inheritance and innovation, advocating for China's contemporary costume design to exhibit its unique allure globally, thus facilitating the spread and exchange of Chinese culture in today's interconnected world.
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Shroff, Meherzad B., i Amit Srivastava. "Hotel Australia to Oberoi Adelaide: The Transnational History of an Adelaide Hotel". W The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3996p40wb.

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In the decades following the war, the spread of international luxury chain hotels was instrumental in shaping the global image of modernity. It was not simply the export of modernist architecture as a style, but rather a process which brought about an overall transformation of the industry and culture surrounding modern domesticity. For Adelaide, well before the arrival of large brand hotel chains like Hilton and Hyatt, this process was initiated by the construction of its first international style hotel in 1960 – Australia Hotel. The proposed paper traces the history of this structure and its impact not only on local design and construction industries but also on domestic culture and lifestyle after the shadow period of recovery after the war. This paper looks at three specific enduring legacies of this structure that went well beyond the modernist aesthetics employed by its original designers, the local firm of Lucas, Parker and Partners. The hotel was one of the first to employ the new technology of lift-slab construction and was recognised by the Head of Architecture at the University of Adelaide, Professor Jensen, as the outstanding building of 1960. It is argued that it was the engagement with such technological and process innovations that has allowed the building to endure through several renovation attempts. In her study of Hilton International hotels, Annabelle Wharton argues how architecture was used for America’s expansion to global economic and political power. Following on from her arguments, this paper explores the implications of the acquisition of the Australia Hotel by the Indian hotel chain Oberoi Hotels in the late 1970s when it became Oberoi Adelaide. The patronage of Indian hotelier Mohan Singh Oberoi came alongside the parallel acquisition of Hotel Windsor in Melbourne, heralding a new era of engagement with Asia. Finally, the paper also highlights the broader impact of this hotel, as a leisure venue for the burgeoning middle class, on the evolving domestic culture of Adelaide.
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Raporty organizacyjne na temat "Modernism (aesthetics)"

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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, grudzień 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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