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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 30 lipca 2024

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1

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

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2

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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4

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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6

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

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7

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

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8

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

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9

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

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10

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

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11

Chris, Garratt, i Appignanesi Richard 1940-, red. Introducing modernism. Royston: Icon Books, 2004.

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12

Costello, Diarmuid. Aesthetics After Modernism. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197756423.001.0001.

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Abstract Aesthetics after Modernism argues for the ongoing relevance of aesthetics to art after modernism. The author shows that even what are typically taken to be the hardest of hard cases engage us in recognisably aesthetic ways and so remain amenable to aesthetic analysis. The book traces the artworld’s rejection of aesthetic theory to Clement Greenberg’s success in co-opting the discourse of aesthetics, notably Immanuel Kant’s aesthetics, to underwrite his own formalism about modernist art. Not only has this led to Kant being tarred with the brush of Greenbergian formalism; it has also led critics and theorists of later art to miss the resources of the aesthetic tradition, perhaps especially Kant, for capturing what is distinctive about our cognitive relation to the kinds of art that most interest them. There is a tendency to assume that Kant’s aesthetics cannot speak to the more conceptual aspects of our interactions with art. The author traces the legacy of Greenberg’s modernism and formalism for later art criticism and theory, before offering an interpretation of Kant’s theory of art that seeks to show otherwise. The book takes Conceptual Art as a test case: here is a form of art that often claims to forgo sensible properties altogether. But if Kant’s aesthetics can accommodate our cognitive relation to art with no sensible features relevant to its appreciation as art, then it should in principle withstand the challenge of any form of art.

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13

Aesthetics after Modernism. Oxford University Press, Incorporated, 2024.

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14

Klein, Jürgen. On Modernism. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2022.

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15

Klein, Jürgen. On Modernism. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2022.

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16

Noël, Samantha A. Tropical Aesthetics of Black Modernism. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478012894.

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Noël, Samantha A. Tropical Aesthetics of Black Modernism. Duke University Press, 2021. http://dx.doi.org/10.1515/9781478012894.

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18

Danius, Sara. Senses of Modernism: Technology, Perception, and Aesthetics. Cornell University Press, 2019.

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19

Dowden, Stephen. Modernism and Mimesis. Springer International Publishing AG, 2020.

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20

Film modernism. Manchester University Press, 2015.

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21

Rohdie, Sam. Film Modernism. Manchester University Press, 2015.

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22

Rohdie, Sam. Film Modernism. Manchester University Press, 2015.

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23

Weller, Shane. Modernism and Nihilism. Palgrave Macmillan, 2010.

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24

Crozier, Andrew. Fate of Modernism. University of Cambridge ESOL Examinations, 2004.

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25

Davidson, Michael. Invalid Modernism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198832812.001.0001.

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Invalid Modernism contributes to an intersectional moment in disability studies by looking at aesthetics through non-conforming bodies and minds. It also offers an intersectional understanding of modernism by studying the representation of physical and cognitive difference during a period marked by progressive reforms in health, labor, and welfare. Readings of texts by Henry James, Samuel Beckett, Virginia Woolf, William Carlos Williams, James Joyce, Djuna Barnes, Oscar Wilde, F. T. Marinetti, Jean Toomer, an opera by Alexander Zemlinsky, and paintings and constructions of Dadaists and Surrealists are set against historical developments in sexology, medical discourse, and eugenics and anthropometry. Modernist works are well known for challenging formal features of narration and representation, but this challenge has often been enabled by shell-shocked veterans, tubercular heroines, blind soothsayers, invalid aesthetes, and neurasthenic women. Such figures complicate an aesthetics of autonomy by which modernism is often understood. Since its evolution in the eighteenth century modern aesthetics has been seen in terms of judgments based on detached appreciation. What begins as a private sensory response to an object or natural formation results in a disinterested judgment about the value of that response. By looking at modernist aesthetics through a disability optic, Invalid Modernism attempts to restore the missing body to aesthetic discourse through figures marked by medical discourse of the period as “invalid” subjects.

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26

Moss, Gemma. Modernism, Music and the Politics of Aesthetics. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474429900.001.0001.

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Why was music so prominent in modernist literature? Why did so many modernist writers turn to an abstract art form like music to help them explore politics, gender, war, capitalism, technology and the social functions of art? Using an approach to music informed by T. W. Adorno, this book examines the real-world, political significance of seemingly abstracted things like musical and literary forms. Re-assessing music in James Joyce, Ezra Pound and Sylvia Townsend Warner, this book re-shapes temporal, aesthetic and political understandings of modernism by arguing that music plays a crucial role in on-going attempts to investigate language, rational thought and ideology using aesthetic forms. Finally, through an analysis of twenty-first-century novelists who have returned to modernist music and methods of formal innovation, this book argues that we need a new account of modernism, which is still being produced today. Since contemporary writers continue to ask what can be achieved by combining musical and literary forms, and to debate the value of linguistic and rational meaning against music’s non-referential, emotive communicative capacities, this book provides a methodology that offers a purchase on matters we have not yet found our way out of.

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27

Rohdie, Sam. Film Modernism. Manchester University Press, 2015.

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28

Modernism and the Aesthetics of Violence. Cambridge University Press, 2013.

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29

Paul, Sheehan. Modernism and the Aesthetics of Violence. Cambridge University Press, 2013.

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30

Paul, Sheehan. Modernism and the Aesthetics of Violence. Cambridge University Press, 2013.

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31

Paul, Sheehan. Modernism and the Aesthetics of Violence. Cambridge University Press, 2013.

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32

Clewell, T. Modernism and Nostalgia: Bodies, Locations, Aesthetics. Palgrave Macmillan Limited, 2013.

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33

Clewell, T. Modernism and Nostalgia: Bodies, Locations, Aesthetics. Palgrave Macmillan, 2013.

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34

Clewell, Tammy. Modernism and Nostalgia: Bodies, Locations, Aesthetics. Palgrave Macmillan, 2013.

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35

Modernism and Nostalgia: Bodies, locations, aesthetics. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2013.

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36

Danius, Sara. The Senses of Modernism: Technology, Perception, and Aesthetics. Cornell University Press, 2002.

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37

Weller, S. Modernism and Nihilism. Palgrave Macmillan, 2010.

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38

Weller, S. Modernism and Nihilism. Palgrave Macmillan, 2010.

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39

Biocentrism and Modernism. Farnham, Surrey, England: ASHGATE, 2011.

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40

A New Vocabulary for Global Modernism (Modernist Latitudes). Columbia University Press, 2016.

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41

Modernism. Wyd. 2. New York: Routledge, 2007.

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42

Modernism. Taylor & Francis Group, 2012.

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43

Walz, Robin. Modernism. Taylor & Francis Group, 2013.

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44

Walz, Robin. Modernism. Taylor & Francis Group, 2013.

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45

Walz, Robin. Modernism. Taylor & Francis Group, 2013.

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46

Modernism. Taylor & Francis Group, 2014.

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47

Caughie, P. Disciplining Modernism. Palgrave Macmillan, 2016.

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48

Horvath, Agnes. Modernism and Charisma. Palgrave Macmillan, 2013.

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49

Modernismens historie. Copenhagen]: Akademisk, 2003.

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50

Blasphemous Modernism: The 20th-Century Word Made Flesh. Oxford University Press, Incorporated, 2017.

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