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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Leslie, Deborah, i Suzanne Reimer. "Gender, Modern Design, and Home Consumption". Environment and Planning D: Society and Space 21, nr 3 (czerwiec 2003): 293–316. http://dx.doi.org/10.1068/d337.
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Beset by a range of internal inconsistencies and contradictions, modernism never has been able to expunge completely that which has been constructed as its ‘Other’. Often coded as feminine, notions of ornamentation, decoration, craft, and ephemerality have long been defined in opposition to the modernist project. In this paper we chart a return to the aesthetics of modernism in the retailing, marketing, and consumption of household furniture during the 1990s as a means of extending existing assessments of modernist discourses. Given past associations between modernism and masculinity, we critically evaluate contemporary shifts in home consumption in the context of the gendering of the modern.
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Ghazoul, Ferial J. "Arabian Aesthetics in European Modernism". Journal of World Literature 2, nr 3 (2017): 339–55. http://dx.doi.org/10.1163/24056480-00203003.
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This article focuses on one aspect of the impact of the Arabian Nights on Western literature that has been rarely addressed, namely its impact on modernism. Modernism is almost always viewed as a quintessentially European movement, self-generated between the first and second World Wars. From there it spread to the rest of the world. Despite its global diffusion, the imperial project has remained to be viewed in terms of the impact of the colonial powers over the colonized. My contention is that the cultural traffic was not one-way, but two-way. By considering the cultural traffic as going two ways, we instil an understanding of Modernism as a World Movement and recognize the constitutive part that Arabic poetics played in European Modernism. This article thus detects how the narrative logic of the most famous Arabian tales structured the works of the two pillars of High Modernism, Marcel Proust and James Joyce.
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Hong, Sung Sook. "Modernism and Post-Modernism Aesthetics in Seeing Things*". Yeats Journal of Korea 29 (30.06.2008): 209–24. http://dx.doi.org/10.14354/yjk.2008.29.209.
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Connor, John T. "Fanfrolico and After: The Lindsay Aesthetic in the Cultural Cold War". Modernist Cultures 15, nr 3 (sierpień 2020): 276–94. http://dx.doi.org/10.3366/mod.2020.0297.
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This article follows Jack Lindsay (1900–1990) in his transformation from an Australian anti-modernist to a British-based Communist and cultural Cold Warrior. Lindsay was the driving force behind a cluster of initiatives in 1920s Sydney and London to propagate the art and ideas of his father, the painter Norman Lindsay. These included the deluxe limited edition Fanfrolico Press and the little magazines Vision and The London Aphrodite. The article reconstructs the terms of Lindsay's anti-modernist polemics and the paradoxically modernist forms they took, but it also attends to his change of heart. In the two decades after the Second World War, Lindsay found himself defending modernism against both its Cold War co-optation as the in-house aesthetic of the capitalist ‘Free World’ and its reflex denigration within Soviet and international Communist aesthetics. Against the elevation of modernism in the Anglo-American academy and its cultural-diplomatic deployment by agencies of the state, against the uncritical celebration of realism and its Soviet-sphere derivatives, Lindsay proposed a subaltern tradition of experimental art characterised by its utopian symbolism and national-popular inflection. For Lindsay, this tradition reached back to Elizabethan times, but it included modernism as one of its moments. From the vantage of the Cold War, Lindsay now identified the Fanfrolico project as itself an ‘Australian modernism,’ elements of which might yet fuse to form a more perfect socialist realism.
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DOLGOVA, Elena D. "AESTHETICS OF ANONYMOUS ARCHITECTURE". Urban construction and architecture 6, nr 2 (15.06.2016): 91–95. http://dx.doi.org/10.17673/vestnik.2016.02.17.
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The article examines the anonymous architecture in terms of aesthetic knowledge. A parallel between the categories of classical aesthetics - a beautiful / ugly, and the categories of architectural activity in the Vitruvian paradigm professional / anonymous is drawn. Traced the background and process of incorporating objects anonymous architecture in non-classical aesthetic field through poetization everyday life, the emergence of technical aesthetics, aesthetics and functionalism of modernism. Non-classical aesthetics characterize objects anonymous architecture using parakategory daily, physicality, thing. We present the aesthetic characteristics of the anonymous architecture using the categories developed in the traditional aesthetics of eastern cultures - wabi, sabi, sibui and eugen. A parallel between the perception of the aesthetics and simplicity of anonymity is drawn.
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Hlito, Alfredo. "Notes Toward a Materialist Aesthetics". ARTMargins 12, nr 1 (1.02.2023): 143–46. http://dx.doi.org/10.1162/artm_a_00344.
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Abstract This introductory study analyzes two key texts from the short-lived Argentine collective, the Asociación Arte Concreto-Invención (Association of Concrete Art-Invention, or AACI). Published in 1946 in the same issue of the group's official organ, they collectively theorize the “co-planar,” the AACI's key contribution to the history of abstract and concrete painting. While Maldonado's text offers a historical reconstruction of the genealogy of the co-planar as the culmination of modernist investigations of the plane and the problem of composition, Hlito's text outlines the understanding of Marxist materialism and dialectics that underpinned this particular take on the task of modernism.
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Oksiloff, Assenka. "Archaic Modernism: Hofmannsthal's Cinematic Aesthetics". Germanic Review: Literature, Culture, Theory 73, nr 1 (styczeń 1998): 70–85. http://dx.doi.org/10.1080/00168899809597361.
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KOGUASHVILI, Baia. "High Modernism Revisited: Temur Kobakhidze’s T. S. Eliot and The Aesthetics of High Modernism". Journal in Humanities 6, nr 2 (6.02.2018): 35–39. http://dx.doi.org/10.31578/hum.v6i2.359.
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Prof. T. Kobakhidze’s recently published book T. S. Eliot and the Aesthetics of HighModernism is written with enviable literary taste and scholarly brilliance. In his comprehensivework, Prof. Kobakhidze places the discussion of T. S. Eliot’s individual worksin a broader context of high modernism. Within the extremely interesting time period,described as “a highly variegated literary background, consisting of a lot of significantand/or meager mini-movements united under the notion of ‘modernism’“ by Prof. Kobakhidzede,he singles out T. Eliot as a major figure of Anglo-American literary modernismand the author giving a lot of headache to literary scholars and critics. Above allthe author of the monograph fascinates us by his profound erudition and original visionof the diverse aspects of T. S. Eliot’s writings in relation to high modernism. Discussingvarious issues from multidisciplinary perspective, he emphasizes neo-mythologism, ‘reversionto myth’/modernistic renaissance of myth or mythic experiment as one of thedominant distinctive features of modernist literature; he also touches upon other importantaspects of high modernism, accentuating its aspirations to reevaluate Europeancultural traditions. The book scrutinizes not only Eliot’s famous masterpieces but hisshorter and less known poems as well. It combines a broad research scope with deepinsights—a rare combination, indeed. It is a great piece of Eliot criticism, a must-readfor any serious Eliot scholar.
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Zepke, Stephen. "Art as Abstract Machine: Guattari's Modernist Aesthetics". Deleuze Studies 6, nr 2 (maj 2012): 224–39. http://dx.doi.org/10.3366/dls.2012.0059.
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Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal and invisible forces, sensations that go beyond our human conditions of possibility. In this Guattari's modernism must be understood as being quite different from his co-option by contemporary art theorists influenced by post-Operaist thought. Post-Operaism understands politics as ‘being-against’, a dialectical form of negation that finds its political condition of possibility in what already exists. Because such thought sees modern art as being entirely subsumed by the institutions and markets that contain it, art itself must be negated in order for aesthetic powers to become political. This has lead post-Operaist thought to align itself strongly with the avant-garde positions of institutional-critique and art-into-life, or ‘non-art’. Guattari's modernism takes him in a very different direction, affirming modern art despite its institutional enframing, because art is forever in the process of escaping itself. This makes modern art the model in Guattari's thought for politics itself.
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Paul, Abhijit, i Kshitij Sinha. "WHAT DO THE CONTRASTING VIEWS OF HARRIES AND EISENMAN ADD TO ARCHITECTURAL CULTURE IN BRINGING AESTHETIC IMPRESSIONS BACK TO THE BUILT ENVIRONMENT?" JOURNAL OF ARCHITECTURE AND URBANISM 48, nr 1 (22.05.2024): 52–66. http://dx.doi.org/10.3846/jau.2024.19925.
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In the era of modernism, the natural symbols of art – expressed through aesthetic elements – have been seen replaced by the verbal notations of communication. The replacement forced the postmodernists to deconstruct the concept of modernism to bring back the notion of symbolic art superficially and to revitalize the meaning of art and its cohesive presence in the built environment. The revitalization process, however, does not seem to have gone without raising questions in the academic community. Does the aesthetic impulse come from the structural spirit of a built form alone? Is just aesthetics deeply rooted in built-form identity? Is aesthetics not associated with the social environment and economic living? Can aesthetics exist in isolation? Can aesthetics be more of a by-product of functionality than the product itself? Using the works of Harries and Eisenman, the paper develops a review sketch exploring these questions. Many other attributes, such as aesthetics production, aesthetics generation, and environmental aesthetics, and their roles in art appreciation have ensured positions in the discussion. The conclusions seem to warn that the influence of social co-existence in defining built-form aesthetics in the postmodern era and later, divorced from reality – avoiding the presence of the different layers in the social fabric and their relationships among themselves – seldom helps to produce any futuristic vision but invites chaos in thoughts and perceptions crossing over between studies and practices in architecture.
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Crangle, Sara. "Britain versus Modernism". European Judaism 52, nr 1 (1.03.2019): 8–13. http://dx.doi.org/10.3167/ej.2019.520104.
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Written against the backdrop of Brexit, this short article examines the long history of British disregard for modernist and experimental avant-garde aesthetics, one frequently commented upon by critics and artists over the past century. In What Ever Happened to Modernism? Josipovici added his voice to this chorus, but his focus on British insularity went unremarked by reviewers. In addition to considering this more recent text, the article lingers over Josipovici’s ‘English Studies and European Culture’, an essay written in the 1970s that presciently explores the symbiotic and primary relationship between England and the continent.
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Gualberto, Rebeca. "Reassessing John Steinbeck’s modernism: myth, ritual, and a land full of ghosts in “To a God Unknown”". Journal of English Studies 16 (18.12.2018): 113. http://dx.doi.org/10.18172/jes.3404.
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The aim of this paper is to reassess John Steinbeck’s presence and significance within American modernism by advancing a myth-critical reading of his early novel “To a God Unknown” (1933). Considering the interplay between this novel and the precedent literary tradition and other contextual aspects that might have influenced Steinbeck’s text, this study explores Steinbeck’s often disregarded novel as an eloquent demonstration of the malleability of myths characteristic of Anglo-American modernism. Taking myth-ritualism—the most prominent approach to myth at the time—as a critical prism to reappraise Steinbeck’s own reshaping of modernist aesthetics, this article examines recurrent frustrated and misguided ritual patterns along with the rewriting of flouted mythical motifs as a series of aesthetic choices that give shape and meaning to a state of stagnation common to the post-war American literary landscapes, but now exacerbated as it has finally spread, as a plague of perverse remythologization, to the Eden of the West.
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Earle, Ben. "Modernism and Reification in the Music of Frank Bridge". Journal of the Royal Musical Association 141, nr 2 (2016): 335–402. http://dx.doi.org/10.1080/02690403.2016.1216045.
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ABSTRACTDrawing on the tradition of Formenlehre, this article puts forward a methodological historicism as a means of mediating between the disciplinary expectations of musical analysis, on the one hand, and philosophical aesthetics, on the other. Stylistic developments in the later music of Frank Bridge, perhaps British music's best claim to a high modernist of the generation of Schoenberg and Stravinsky, are illuminated by means of Theodor W. Adorno's notion of musical ‘reification’. A comparative analysis of the complementary modernism of Bridge's contemporary Ralph Vaughan Williams is also put forward, and a critical light shone on recent writing on British musical modernism in general.
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JOHNSON, NICHOLAS E. "Language, Multiplicity, Void: The Radical Politics of the Beckettian Subject". Theatre Research International 37, nr 1 (26.01.2012): 38–48. http://dx.doi.org/10.1017/s0307883311000757.
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This article re-examines the legacy of modernist aesthetics, with special focus on Samuel Beckett and his radical critique of subjectivity, language and ontology. The problem of language as a fundamental agent of difference pervades both the content and form of literary modernism. Beyond conventional semantic and aesthetic function, language acts in Beckett's works to construct a subject that is at once multiple in expression and voided at its core. Drawing on performance and philosophy to explore an ethical dimension of Beckett's praxis already sensed by Theodor Adorno and Alain Badiou, this study recalls the political implications of what are sometimes dismissed as ‘mere’ aesthetic questions, by looking deeper into the modernist attitude toward language, subjectivity, and void. This research suggests that the full radicality of the Beckettian subject has yet to be fully absorbed in philosophy and culture, devastating as it is to the postmodern focus on identity and difference.
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Slawomir Koziol. "Between a Butterfly and a Cathedral: The Question of Art in Brideshead Revisited by Evelyn Waugh". Miscelánea: A Journal of English and American Studies 52 (23.12.2015): 69–87. http://dx.doi.org/10.26754/ojs_misc/mj.20157206.
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The article explores Evelyn Waugh’s views on art, especially his criticism of modernism, expressed in his novel Brideshead Revisited. Drawing on the works of aesthetic theory alluded to or directly mentioned in the novel, as well as on the existing literary criticism on the work, the article examines Waugh’s idea of the function and value of art through a close reading of key fragments of the novel dealing with the question of art. The article argues that Waugh’s criticism of the modernist aesthetics finds its closest ally and its best theoretical elucidation in one of the less known —and most probably unknown to Waugh himself— texts of Roger Fry, who is generally considered to be an icon for practitioners and theorists of modernist art Britain and who plays such a role in Waugh’s novel.
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Teukolsky, Rachel. "Modernist Ruskin, Victorian Baudelaire: Revisioning Nineteenth-Century Aesthetics". PMLA/Publications of the Modern Language Association of America 122, nr 3 (maj 2007): 711–27. http://dx.doi.org/10.1632/pmla.2007.122.3.711.
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John Ruskin's Modern Painters V (1860) and Charles Baudelaire's “The Painter of Modern Life” (1863) are contemporaneous texts that both champion modern painters. Yet the two have rarely been considered together; while Ruskin's work is usually taken to represent a moralistic Victorianism, Baudelaire's essay is a foundational text of aesthetic modernism. This article compares the two texts in order to arrive at a more accurate, descriptive sense of nineteenth-century aesthetics, especially at the mid-century moment when “the modern” emerges as an aesthetic value in both England and France. Ruskin and Baudelaire are shown to propose surprisingly similar aesthetic theories, in part because they negotiate the same traumas of modernity, such as the derailment of religion and the commodification of the material world. Positioned on the ruins of Romanticism, each text intimates an idea of the modern that is not quite modernism but is, in fact, eminently Victorian.
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Darenskiy, V. Yu. "THEORETICAL AESTHETICS OF L. TOLSTOY AS A MANIFEST OF ANTI-MODERNISM". Bulletin of Udmurt University. Series History and Philology 29, nr 5 (25.10.2019): 805–11. http://dx.doi.org/10.35634/2412-9534-2019-29-5-805-811.
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The article is devoted to the interpretation of L. Tolstoy’s theoretical aesthetics as a part of the literary process - as a kind of “manifesto” directed against the emerging modernism (anti-traditionalism). The main components of L. Tolstoy’s aesthetic theory, which are interpreted as worldview principles that most effectively oppose the “death of art” (V. Weidle) in the “postmodern situation” and anti-artistic requirements of the “consumer society”, are considered. The aesthetic concept of L. Tolstoy is interpreted as a strategy to combat the imposition of perverted tastes and immorality in art. The main components of this theory and their interrelation are allocated. L. Tolstoy's aesthetics is considered as an important value basis of modern art education.
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Necker, Gerold. "The aesthetics of cyber-(post-)modernism". Educational Philosophy and Theory 50, nr 14 (25.11.2018): 1620–21. http://dx.doi.org/10.1080/00131857.2018.1461373.
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Glavey, Brian. "Dazzling Estrangement: Modernism, Queer Ekphrasis, and the Spatial Form of Nightwood". PMLA/Publications of the Modern Language Association of America 124, nr 3 (maj 2009): 749–63. http://dx.doi.org/10.1632/pmla.2009.124.3.749.
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The reputation of Djuna Barnes's Nightwood as a work of “marginal” modernism is complicated by its affinities with the aesthetics of high modernism, a fact signaled by its role as the inspiration of Joseph Frank's theory of spatial form. At once emblematic and eccentric, the novel is devoted to both recognition and obscurity. Nightwood enacts this paradox through a strategy of queer ekphrasis that aestheticizes moments of loss, giving aesthetic form to experiences of stigma in order to “dazzle” them. Attending to Barnes's spatial form will forward debates about modernism and queer theory, suggesting a more useful vocabulary for both: an account of the aesthetic that is neither wholly subversive nor wholly conservative and a nuanced account of queerness that does not subscribe to either total negation or total affirmation.
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Rykov, Anatoly V. "Lucian, Modernism and Intertextuality. Towards a Pragmatic Theory of Culture". Voprosy Filosofii, nr 8 (2022): 115–24. http://dx.doi.org/10.21146/0042-8744-2022-8-115-124.
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The paper considers the issues of modernist and pragmatic discourses in the works of the Ancient Greek writer of the 2nd century AD. Lucian of Samosata. His famous work The Passing of Peregrinus is placed in the conceptual field of “Theory of the avant-garde” by Renato Poggioli, terminologically close to the conception of the menippea of Mikhail Bakhtin. Ancient modernism and pragmatism are analyzed in connection with the modern European intellectual history and general theory of culture. The author comes to the conclusion that it is necessary to separate the elements of modernist aesthetics and pragmatic theory in the work of Lucian. In addition, the author insists on the identification of several proper modernist discourses competing with Lucian (and the corresponding classification of connotations): primitivist (populist) and intellectualist (elitist). Lucian's philosophical instrumentalism becomes an ideal background for the collage (intertextual) aesthetics of novelty and shock, the autonomy of the aesthetic sphere. At the same time, the rejection of ontologism and metaphysics by Lucian leads to a situation of considering artistic, political and philosophical problems within the framework of a kind of unified media theory, which also anticipates contemporary conceptual approaches.
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Kraner, Kaja. "The Aesthetics of Relations: The Modernist, Contemporary and Post-Contemporary General Conceptualizations of Art". AM Journal of Art and Media Studies, nr 19 (15.09.2019): 119. http://dx.doi.org/10.25038/am.v0i19.312.
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The article will juxtapose the modernist, contemporary and post-contemporary general conceptualization of art and aesthetic appearance of an artwork. Even though all three conceptualizations can be understood as intertwined because they are largely established in mutual relations, for our purpose they will be analyzed in terms of the basic epistemological terrain on which art enters the Western tradition of knowledge and power: the terrain of aesthetic education. The conceptualization of modernist art/artwork will mainly draw from its link with the autopoietic image of artwork/artistic creativity that can be traced to Romanticism as well as the tradition of the so-called aesthetics of form at the beginning of the 20th century, while conceptualization of contemporary art will be primarily reconstructed on the ground of cultural studies and its reception theory that focused on the analysis of social mediation of cultural texts where the text itself loses the status of an exclusive source of meaning. On the one hand, this article attempts to expose the difference between the two by focusing on conceptualizations of their modes of production of meaning (modernist autopoiesis as producing the artwork’s meaning by, through and of itself versus contextually determined meaning of the artwork within conceptualizations of contemporary art), while on the other, it will expose a general aesthetic appearance of the two based on the differentiation of avant-garde and dialogical aesthetics. From there on, the article will focus on conceptualizations of post-contemporary art in the last ten years that also offered a critique of how contemporary art has been (self)limited to aesthetic experience and by it the present time. In the final part, post-contemporary art will be compared with modernism, for instance in terms of the modernist aim for the transcendent standpoint and its methods of aesthetic alienation in contrast to the post-contemporary aim to eliminate aesthetic experience as such and demonstrate that there can be knowledge without aesthetic experience, or the modernist media research to the post-contemporary media archaeology. Article received: April 30, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019; Review articleHow to cite this article: Kraner, Kaja. "The Aesthetics of Relations: The Modernist, Contemporary and Post-Contemporary General Conceptualizations of Art." AM Journal of Art and Media Studies 19 (2019): 119-126. doi: 10.25038/am.v0i19.312
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Keim, Robert. "“Past All Speech”: The Enactment of Proto-Modernist Literary Aesthetics in Herman Melville’s “Benito Cereno”". Leviathan 26, nr 2 (czerwiec 2024): 40–53. http://dx.doi.org/10.1353/lvn.2024.a933161.
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Abstract: Written after the proto-modernist novels Moby-Dick and Pierre , both of which elicited censure from contemporary critics, Herman Melville’s “Benito Cereno” is recognized as an enigmatic and symbolic work that invites deep reflection on the status of literature, language, and signification. However, critics have not presented “Benito Cereno,” and more specifically the dramatic narrative that occurs aboard the slave ship San Dominick , as a crucial text vis-à-vis Melville’s experimental progression toward the genesis of the modern novel. This essay argues that in “Benito Cereno,” Melville avoided the bold stylistic unconventionality found in Moby-Dick and Pierre and continued exploring innovative prose fiction by inscribing his proto-modernist literary aesthetic into an enacted text encountered by a character who represents an uncomprehending traditional reader. In this analysis of “Benito Cereno,” the San Dominick narrative illustrates how a new literature can be written and how it must be read, such that the novella provides crucial insight into Melville’s exceptional contribution to the proto-modernist literary aesthetics that were emerging during the transition from realism to modernism.
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Kohlmann, Benjamin. "Awkward Moments: Melodrama, Modernism, and the Politics of Affect". PMLA/Publications of the Modern Language Association of America 128, nr 2 (marzec 2013): 337–52. http://dx.doi.org/10.1632/pmla.2013.128.2.337.
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The modernist privileging of irony and detached contemplation frequently combined with a recognition of the social and artistic significance of affect. The relation between melodramatic structures of feeling and modernist innovation is evident in two plays of the interwar years: Bertolt Brecht and Elisabeth Hauptmann's Happy End and W. H. Auden and Christopher Isherwood's On the Frontier. Scholars need to develop a vocabulary that complements the customary critical emphasis on modernist “irony,” “estrangement,” and “difficulty” and that can be used to reconstruct the full force of the modernist uses of affect. Instead of estranging melodrama to make it palatable to an audience trained in high modernism, the negotiations between sentimentality and avant-garde aesthetics in Happy End and On the Frontier trigger a backward dialectical movement in which the modernist rallying call to “make it new” blurs into the established patterns of melodrama.
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Jones, D. V. "Thoughts on Modernism and "Feminist Aesthetics of Potentiality" in Ziarek's Feminist Aesthetics and the Politics of Modernism". differences 25, nr 2 (1.01.2014): 130–37. http://dx.doi.org/10.1215/10407391-2773463.
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Bernstein, J. M. "Kant and Adorno on Mind and World: From Wild Beauties to Spiral Jetty". New German Critique 48, nr 2 (1.08.2021): 107–23. http://dx.doi.org/10.1215/0094033x-8989274.
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Abstract Theodor W. Adorno’s governing procedure in Aesthetic Theory is to reconstruct the terms and concepts of traditional aesthetics and the philosophy of art through the actuality of artistic modernism in its various guises. The necessity of this procedure turns on the recognition that modernist art has become a stand-in for the now-wrecked authority of living nature. Adorno contends that “natural beauty,” as elaborated by Immanuel Kant, is the recognition of that now-lost experience of nature, and that art beauty must be thereby interpreted as becoming the reconstructed afterimage of natural beauty. The article tracks the development of this thought from Kant’s account of “wild beauties” through Adorno’s chapter “Natural Beauty” to its actualization in Robert Smithson’s Spiral Jetty.
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Savilonis, Margaret F. "Women, Modernism, & Performance". Theatre Survey 47, nr 1 (13.04.2006): 142–44. http://dx.doi.org/10.1017/s0040557406360097.
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Penny Farfan's Women, Modernism, & Performance, six intricately woven essays about a handful of late nineteenth- and early twentieth-century female artists, is an absorbing study centered on the premise that “the feminist-modernist aesthetics of key figures in the fields of dance and literature developed in part out of their engagement with dramatic literature and theatrical practice, making their lives and work a part of theatre history” (2). Employing broad definitions of both performance and modernism, Farfan casts a wide net, adopting what she describes as a “‘maximalist’ approach” (117) to construct her arguments about these artists' contributions to “the transformation of the representation of gender in both art and life” (119). Her consideration of public performances such as courtroom trials, lectures, and “the performance of gender in the practice of everyday life” (3) informs her analysis of literary, critical, and performance texts to intriguing effect. In the process, Farfan delineates the cultural landscape out of which these women and their work emerged.
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Kudiņš, Jānis. "Latvian Music History in the Context of 20th-century Modernism and Postmodernism. Some Specific Issues of Local Historiography". Musicological Annual 54, nr 2 (15.11.2018): 97–139. http://dx.doi.org/10.4312/mz.54.2.97-139.
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Do the terms “modernism” and “postmodernism” objectively characterize the trends in the music history of the 20th century or are they merely theoretical abstractions? How can they be applied to the music history of specific countries, for example, when analysing a local historical experience? The article will consider these questions primarily to focus on the representation of the modernist and postmodernist aesthetics in the stylistic developments of the 20th-century Latvian music history.
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Zhuchkova, A. V. "Time recovered: Kirill Ryabov and metamodernism". Voprosy literatury, nr 1 (14.08.2023): 43–64. http://dx.doi.org/10.31425/0042-8795-2023-1-43-64.
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Following an analysis of Kirill Ryabov’s works published in the years 2021 and 2022, the author finds that in Ryabov’s metamodernist aesthetic paradigm the modernist communicative model is preserved alongside some concepts of postmodernist aesthetics. Modernism, postmodernism and metamodernism appear as three stages of the single itinerary with a goal of overcoming the logic of binary oppositions and achieving heteroglossia and dialogue (M. Bakhtin) as a new artistic structure. Through the re-introduction of the depth of emotion and the humanistic dimension, metamodernism strives to comprehend the systemic integrity of the universe. The same agenda characterises Ryabov’s books which show people in their systemic relationships with their own egos, society, the world, and God. The aesthetics of Ryabov’s metamodernist text is defined by such parameters as the abandonment of a clearcut opinion of the author or the protagonist in favour of a dialogue with the reader, reliance on a myth, the concept of a ‘void,’ minimalism, experimentation with the word’s inner form, and the use of mass literature techniques.
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Burlacu, Alexandru. "(Neo)modernism în rupturi rizomice". Limba, literatura, folclor, nr 1 (sierpień 2021): 34–38. http://dx.doi.org/10.52505/llf.2021.1.03.
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This article exposes theses on the Eminescian model as the irradiating center of the Romanian literary canon. The poetry of the 60s and 80s of Bessarabia is conceived as ,rupture with the dogmas of socialist realism and a return to the models Arghezi, Blaga, Bacovia, Barbu. Neomodernism, through rhysome ruptures, has a decisive impact on the metamorphoses of sixty/seventy poetry. The testing of aesthetics produces a change in the concept of poeticity, a mutation from the ardent east-ethics of the generation of Grigore Vieru and Liviu Damian to the aesthetic „liberated from sentimentality”, to the poetry of the imaginary, of the virtual worlds, of poetic models. Neomodernism, very eclectic in its essential moments, is adapted to the intrinsic tradiționalism of the poetry 60s and 80s and has a decisiv impact in the metamorphoses of the transition from modernism to postmodernism.
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Zeidler-Janiszewska, Anna. "Aesthetics and ecology in the post-modern perspective". Polish Journal of Landscape Studies 1, nr 2-3 (21.01.2019): 7–13. http://dx.doi.org/10.14746/pls.2018.2.3.1.
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The analysis sets out from the exhibition entitled Ressource Kunst. Die Elemente Neu Gesehen. The author attempts to outline an area which emerges from the encounter of ecology (as a domain of reflection about the human surroundings) and aesthetics (as a discipline concerned with sensory experience) from the standpoint of post-modernism. The inquiry thus focuses on the moment in which contemporary artistic practices “internalize” ecological issues. Aesthetics becomes a branch of ecology, but at the same time ecology becomes a domain within aesthetics. According to the author, post-modernism has offered advantageous perspectives for pursuing ecological postulations.
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Bušatlić, Lejla. "Bosanski slog u komparativnom diskursu nacionalnih arhitektonskih stilova na području Balkana / Bosnian style in the comparative discourse of national architectural styles". Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, nr 24 (10.11.2021): 459–75. http://dx.doi.org/10.46352//23036990.2021.459.
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The article analyzes the Bosnian style in architecture by reflecting upon the phenomenon of the national architectural style, its role in the construction of national identity, political and ideological instrumentalization. The issue of the relationship betwee tradition and modernity and the position of architectural heritage in the contemporary context arises. Interpretative framework of the specificity of the national architectural idiom also includes a discursive view of the relationship between the periphery and the center. Through a comparative analysis of national styles in architecture of the Balkan countries such as Bosnia and Herzegovina, Turkey, Croatia and Serbia, their character, distinction and mutual connections are defined. The Bosnian-style in architecture is viewed in its development as an architectural idiom of the national origin, but also as an authentic stylistic determinant created in the process of a creative research of architectural heritage that will ultimately result in new spatial-design and aesthetic values consistent with modernist architectural concepts. In this sense, the position of the Bosnian style as a national style in the history of European modernism is questioned, its connection with the aesthetics of modernism based on the principles of reducing excessive decorativeness, formative purism and functionalism.
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Stow, Simon. "Modernism at the Barricades: Aesthetics, Politics, Utopia". New Political Science 35, nr 1 (marzec 2013): 136–38. http://dx.doi.org/10.1080/07393148.2012.754679.
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Parkins, Ilya. "feminist aesthetics and the politics of modernism". Feminist Review 113, nr 1 (lipiec 2016): e3-e4. http://dx.doi.org/10.1057/fr.2016.18.
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Steinberg, Michael P. "The Politics and Aesthetics of Operatic Modernism". Journal of Interdisciplinary History 36, nr 4 (1.03.2006): 629–48. http://dx.doi.org/10.1162/002219506776023172.
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Maerhofer, John W. "Modernism at the Barricades: Aesthetics, Politics, Utopia". Socialism and Democracy 29, nr 1 (2.01.2015): 167–71. http://dx.doi.org/10.1080/08854300.2014.1001565.
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Andrea L. Volpe. "Modernity, Modernism, and the Aesthetics of Illumination". Reviews in American History 37, nr 4 (2009): 597–604. http://dx.doi.org/10.1353/rah.0.0138.
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Soldofsky, Alan. "William Carlos Williams and West Coast Poetic Culture: Personalist Poetics from Paterson to Bolinas Mesa". William Carlos Williams Review 40, nr 1 (czerwiec 2023): 7–50. http://dx.doi.org/10.5325/willcarlwillrevi.40.1.0007.
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Abstract This article aims to show the pervasive influence of William Carlos Williams’s later more “personalist” work, in particular, on the poetry of Kenneth Rexroth, Philip Whalen, and Joanne Kyger. I analyze how Williams’s later poetics influence West Coast poets, particularly Kenneth Rexroth, whose idea of a “personalist” poetics stands opposed to the “impersonalist” aesthetics of T.S. Eliot-Ezra Pound wing of modernism. I then introduce close readings of several poems of Philip Whalen, whose personalist style is more internal and less extraverted than the other poets and represents another step away from the modernist Williams and toward a highly subjective personalist aesthetic where the poem can become a graph of the poet’s “mind moving.” I go on to argue that Joanne Kyger’s poetic practice is much influenced by Whalen’s innovative take on Williams’s discursive poetics and contend that Kyger’s Zen-influenced “poetics of interconnectedness” contribute to her reframing Bolinas as an aesthetic site strongly connected to Williams’s post-Paterson sensibilities.
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Wrana, Jan. "Cracovian modernists - the 60 ties, 90 ties of the XX century - the returns". Budownictwo i Architektura 4, nr 1 (11.06.2009): 125–32. http://dx.doi.org/10.35784/bud-arch.2339.
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The European reaction of the leading architects towards the period of international style, “The idea of style has yet again become up-to-date. The modern style, covering the whole world, is uniform and coherent...” [4], promoted at the exhibition “Modernist architecture” organized in Museum of Art in New York by architects Henry Russell Hitchcock and Philips Johnson, was immediate. The leading European architects: a) Walter Gropius wrote: “The aim of Bauhaus was not to promote one particular style...” [4], b) Le Corbusier formulated “Fundamental principles of aesthetics” [4], c) Bruno Taut wrote: “Five assumptions of new architecture” [4]. The message that “The form follows the function” became the very principle of modernism. The year 1972, when the blocks of flats in St. Louis, US were blown up, and the year of the actual end of the ideology originating from CIAM, is the agreed time marked as the end of modernism. It was a few years after Le Corbusier’s death (1965) - the death of the unchallenged spiritual ideologist of modernism.
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Jansson, Mats. "In the Traces of Modernism: William Faulkner in Swedish Criticism 1932–1950". Humanities 7, nr 4 (4.10.2018): 96. http://dx.doi.org/10.3390/h7040096.
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This article focusses the reception of William Faulkner in Sweden from the first introduction in 1932 until the Nobel Prize announcement in 1950. Through reviews, introductory articles, book chapters, forewords, and translations, the critical evaluation of Faulkner’s particular brand of modernism is traced and analysed. The analysis takes theoretical support from Hans Robert Jauss’ notion of ‘horizon of expectations’, Gérard Genette’s concept of ‘paratext’, and E.D. Hirsh’s distinction between ‘meaning’ and ‘significance’. To pinpoint the biographical and psychologizing tendency in Swedish criticism, Roland Barthes’s notion of ‘biographeme’ is introduced. The analysis furthermore shows that the critical discussion of Faulkner’s modernism could be ordered along an axis where the basic parameters are form and content, aesthetics and ideology, narrator and author, and writer and reader. The problematics adhering to these fundamental aspects are more or less relevant for the modernist novel in general. Thus, it could be argued that the reception of Faulkner in Sweden and Swedish Faulkner criticism epitomize and highlight the fundamental features pertaining to the notion of ‘modernism’, both with regard to its formal and content-based characteristics.
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Asojo, Abimbola O., i Babatunde E. Jaiyeoba. "MODERNISM AND CULTURAL EXPRESSION IN UNIVERSITY CAMPUS DESIGN: THE NIGERIAN EXAMPLE". International Journal of Architectural Research: ArchNet-IJAR 10, nr 3 (28.11.2016): 21. http://dx.doi.org/10.26687/archnet-ijar.v10i3.1102.
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In the early to mid-20th century as a result of colonialism and independence across Africa, modernism became prominent as urbanization rapidly affected major Nigerian cities and towns. Modernism was reflected in the public projects designed and executed by expatriate firms of modernist architects and designers for the colonialists. In literature, most of the discussion on modernism has predominantly been focused on Europe and the Americas. There is very limited information available about the African continent, especially West Africa and Nigeria. In this paper, we discuss the designs of the first generation Nigerian Universities. Our goal is to introduce audiences to cultural expression and diverse perspectives of Nigerian spaces of this era, and thus contribute to the global design discourse. We will illustrate how the designers and architects acculturated the international style into the tropical climate and sociocultural context of Nigeria. We will discuss the impact of Nigerian indigenous cultures on the site layout, building form, spatial configuration, interior and exterior relationships, materials, construction techniques, symbols and aesthetics.