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Статті в журналах з теми "Modernity"

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Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 7 липня 2024

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1

Walker, Shauna. "Gothic Modernisms: Modernity and the Postcolonial Gothic in Tayeb Salih's Season of Migration to the North." Gothic Studies 22, no. 3 (November 2020): 285–99. http://dx.doi.org/10.3366/gothic.2020.0062.

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This article discusses the intersection between modernism and the Gothic, interrogating the conventional periodisation of modernism and extending the scope of both modernist and gothic studies. I propose that Tayeb Salih's Season of Migration to the North is a response to Sudanese postcolonial modernity through the mode of Gothic modernism. The modern Gothic is symptomatic of the contradictions fundamental to modernity as the ‘regressive’ past continues to haunt the ‘progressive’ present. I extend my discussion of modernism, modernity and the Gothic to debates around the postcolonial Gothic, considering the various ways in which the uncanny and gothic doubling are paradigmatic of the postcolonial experience. Tayeb Salih's novel is a departure from hegemonic conceptualisations of modernity and modernism, using the Gothic to critique Western metanarratives of historical linearity, progress and modernisation.

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2

Terian, Andrei. "Faces of modernity in romanian literature: a conceptual analysis." Alea : Estudos Neolatinos 16, no. 1 (June 2014): 15–34. http://dx.doi.org/10.1590/s1517-106x2014000100002.

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This study analyses the manner in which Romanian criticism chose to define and outline literary modernity. From this point of view, I have highlighted a series of deficiencies in the aforementioned endeavors, among which the reductive vision on modernism, which is limited either to a strictly formal meaning (as literary technique) or to a substantial one (as ideological attitude), the emergence of a non-differentiated concept of modernism, which tends to embrace any secondary effects or, on the contrary, of a generic anti-modernism, irrespective of the level or the direction in which it opposes modernism. Therefore, the present study sets forth a new classification of Romanian literary modernity, which includes, besides modernism, an anti-modernist direction and an ultra-modernist one also.

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3

Koslowski, Peter. "Razón e historia. La modernidad del postmodernismo." Anuario Filosófico 27, no. 3 (October 4, 2018): 969–89. http://dx.doi.org/10.15581/009.27.29838.

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The paper distinguishes between a free form of modernity and an ideological form of modernity, whereby the latter can also be called modernism. Free modernity aims at realising the modern, i.e. that which responds to the needs of the present and realises what corresponds to the state-of-the-art. Modernism as an ideology, however, believes in "the" ultimate modernism, in one final modern age of reason. The modernist Hegelian and Marxist philosophies of history and of dialectical metaphysics have come to an end. It demonstrates that we are living in a post-modern age that gives a new freedom for the Christian interpretation of history and for the theological and personalist form of metaphysics.

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4

Watts, Philip. "Modernism/Modernity." South Central Review 14, no. 3/4 (1997): 110. http://dx.doi.org/10.2307/3190215.

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5

Staudt, Kaitlin. "“Move Forward and Ascend!” : Temporality and the Politics of Form in Turkish Modernist Literature." Modernism/modernity 30, no. 4 (November 2023): 659–79. http://dx.doi.org/10.1353/mod.2023.a925903.

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abstract: This article situates Turkish literary modernism within larger discussions on the role of literature within the Turkish state’s modernization program following the establishment of the Turkish Republic in 1923. The article explores how early twentieth-century government directives regarding the teleology of modernity in Turkey have created tension between characteristics central to modernism’s definition. Reckoning with the ways in which the modernist novel has been constructed as other to Turkish literature by scholars and by authors reveals the ways in which state-sponsored conceptions of Turkish modernity underpin the definitional practices surrounding literary modernism in Turkey and in doing so impact field-level discussions of how and where modernism exists.

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6

Cooper, Melinda. "‘[W]hen the highway catches up with us’: Negotiating late modernity in Eleanor Dark'sLantana Lane." Queensland Review 23, no. 2 (December 2016): 207–23. http://dx.doi.org/10.1017/qre.2016.30.

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AbstractEleanor Dark's last published novel,Lantana Lane(published 1959), is not usually included in accounts of Australian modernism. The novel's strong criticisms of modernity, its regional focus and the Cold War context complicate its inclusion as a modernist text. However, revised understandings of modernism generated in the past few decades of scholarship allow for a reinvestigation of Dark's novel as a response to the conditions of late modernity. In particular, Dark explores the pressures exerted on local space by modern capitalism in a period of post-war reconstruction, showing how the national and global scales encroach upon and threaten to annihilate local particularity. Through drawing on a number of broadly modernist practices, including those of entanglement, suspension, metageography and primitivism, Dark pushes back against modernity's narratives of progress and attempts to recover space for the literary and the small scale.Lantana Lanedemonstrates how ‘regional modernisms’ written from ‘peripheral’ locations can draw attention to the uneven distribution of modernity within national and global space, and offer alternative — if provisional — sites of attachment.

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7

Torrance, Robert M., and Donald Keene. "Modernism and Modernity." Journal of the Association of Teachers of Japanese 22, no. 2 (November 1988): 195. http://dx.doi.org/10.2307/488942.

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8

Schnapp, Jeffrey T. (Jeffrey Thompson), Michael Shanks, and Matthew Tiews. "Archaeology, Modernism, Modernity." Modernism/modernity 11, no. 1 (2004): 1–16. http://dx.doi.org/10.1353/mod.2004.0024.

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9

Khair, Tabish. "Modernism and modernity." Third Text 15, no. 55 (June 2001): 3–13. http://dx.doi.org/10.1080/09528820108576910.

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10

Köksal, Duygu. "Domesticating the avant-garde in a nationalist era: Aesthetic modernism in 1930s Turkey." New Perspectives on Turkey 52 (May 2015): 29–53. http://dx.doi.org/10.1017/npt.2015.1.

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AbstractThis paper investigates the rise of aesthetic modernism in Turkey’s early republican era (i.e., the late 1920s and the 1930s), with an emphasis on the influence of international cultural currents on Turkey’s intelligentsia. The paper concentrates on the modernist ideas and works of the D Group, who advocated a high modernism in the plastic arts, and the literary modernism of the socialist poet Nâzım Hikmet (Ran). Firstly, it addresses the historiographical argument that aesthetic modernism in Turkey was a derivative enterprise, a low-grade replica of European modernism. Secondly, it argues that the early republican intelligentsia found itself in a dilemma with regard to modernist currents. For them, aesthetic modernism was a sign of the modern epoch, but it also carried a radical potential for a critique of bourgeois modernity. Aesthetic modernism not only promised change, functionality, and renewal, but also manifested such disturbing symptoms of modernity as individualism, melancholy, degeneration, and restlessness. The paper reaches the conclusion that figures such as the D Group artists and Nâzım Hikmet translated the avant-garde international currents of aesthetic modernism into the early republican context, opting for positive and optimistic versions of modernism rather than adopting its more alienating, pessimistic, and despairing features. Through their works, an intellectual debate on aesthetic modernism was initiated in early republican Turkey.

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11

Antliff, Mark. "Fascism, Modernism, and Modernity." Art Bulletin 84, no. 1 (March 1, 2002): 148–69. http://dx.doi.org/10.1080/00043079.2002.10787015.

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12

Antliff, Mark. "Fascism, Modernism, and Modernity." Art Bulletin 84, no. 1 (March 2002): 148. http://dx.doi.org/10.2307/3177257.

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13

Thacker, Andrew. "Travel, modernism and modernity." Studies in Travel Writing 22, no. 2 (April 3, 2018): 232–33. http://dx.doi.org/10.1080/13645145.2018.1515708.

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14

MILBANK, JOHN. "SCHOLASTICISM, MODERNISM AND MODERNITY." Modern Theology 22, no. 4 (October 2006): 651–71. http://dx.doi.org/10.1111/j.1468-0025.2006.00338.x.

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15

Smith, Terry. "Modernism, Modernity and Otherness." Australian Journal of Art 13, no. 1 (January 1996): 144–66. http://dx.doi.org/10.1080/03146464.1996.11432846.

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16

Pant, Rajendra Prasad. "Utopia Turns into Dystopia: Orwell’s Critic of Stalinist Marxist Innovativeness in Animal Farm." KMC Journal 6, no. 1 (January 31, 2024): 122–34. http://dx.doi.org/10.3126/kmcj.v6i1.62335.

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This paper aims to examine modernity in Marxism as an allegory of the animals' revolution in George Orwell's Animal Farm. The major concern of this paper is to explore the modernity and its impact of utopian Marxist conception of state considering essential characteristics of political movements and the possible relationship existed between them. One is immediately puzzled by the fact that modernist literature, art, and political theory seem to have little or nothing to do with Marxism, and are, in fact, reactionary to Marxism. Modernity in Marxism is change in the life of the people belonging to lower class or proletariats. The research tool used for research is Marxism and modernity, with reference to Robert Bocock, Abram L. Harris, and Henri Lefebvre. The research methodology used for analysis is textual analysis. The major finding is the concept of Utopia where there is everybody happy and prosperous; that is the main idea of this concept from Marxism. This notion of modernism comes into existence from different political movements in global context. The historically changing process is the base for the modernity in the society that shows the abuse of power practised by Stalin in Russia in the name of Marxism.

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17

Comentale, Ed. "The Shropshire Schizoid and the Machines of Modernism." Modernist Cultures 1, no. 1 (May 2005): 22–46. http://dx.doi.org/10.3366/e2041102209000033.

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Анотація:

In “The Shropshire Schizoid and the Machines of Modernism” Edward P. Comentale considers the work of A. E. Housman, D. H. Lawrence, and Wyndham Lewis in order to engage with modernism from a perspective indebted to the theories of Deleuze and Guattari. Comentale thus intervenes polemically in recent attempts to rethink and revise scholarly conceptions of Modernism. “The Shropshire Schizoid” argues that critical understanding of Modernism should not be based on oedipal accounts of Modernist textuality that construe desire as founded upon lack. In his detailed readings of key works by Housman, Lawrence, and Lewis, Comentale seeks to elaborate a reading practice which returns us to Modernism's original generative power, its capacity to create new articulations of desiring-production within the circuits and flows of capitalist modernity. Contending that criticism is insufficiently attentive to the explosive impact of desire within Modernist art and writing, Comentale suggests that it should be more attuned to the productive technologies that shaped modernity. His essay thus reconceives contemporary cultural analysis as a form of impassioned engineering. Following this model, scholarship functions as a mode of production that responds to Modernism's own deterritorializations and reterritorializations, and thus participates in an ongoing process of critical coding and recoding.

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18

Skouras, George. "Modernity, the Commons and Capitalism." British Journal of American Legal Studies 9, no. 2 (August 4, 2020): 367–86. http://dx.doi.org/10.2478/bjals-2020-0012.

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AbstractThe modern way of life and reflected in modern political philosophy is directed by capitalist activity of both commodities and persons. Entities that do not have commodity value are worthless to the capitalist enterprise, regardless of any intrinsic value in themselves. Modernity is capitalist modernity. Modernity has given preference for objects/commodities over persons. This paper will argue for opening-up the landscape for alternative experiences to capitalism, as an attempt to move away from the capitalist enterprise. That is, be able to provide open space for people to use other than the buying and selling of commodities---where the commodification process breaks down and opens-up spaces for alternative experiences besides the capitalist experience. In other words, this work will attempt to serve as critique of Enlightenment philosophical discourse---that is, serve as a critique of the Age of Enlightenment serving as the foundational head of modernism---a plea for the rebellion against the quantification and mathematization of reality under modernist and industrial societies. It will use the modern landscape as the first effort to break free from the capitalist enterprise.

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19

Nieland, Justus. "Editor's Introduction: Modernism's Laughter." Modernist Cultures 2, no. 2 (October 2006): 80–86. http://dx.doi.org/10.3366/e2041102209000203.

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This special issue of Modernist Cultures is animated by two claims. First, that modernism is funny, and the moderns inveterate laughers, gigglers, joke-pullers, and devastating wags. Second, that modernism's ubiquitous laughter is overlooked, undertheorized, and downright gagged by the aura of high seriousness that still infuses critical descriptions of modernism: of its heroic gambits to shore up a besieged world of authenticity, plenitude, and presence; of its aristocratic disdain for the enervating banality of quotidian modernity; of its arch and unfeeling formalism.

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20

Wolff, J. "Modernism, Modernity and English Art." Oxford Art Journal 21, no. 2 (January 1, 1998): 199–202. http://dx.doi.org/10.1093/oxartj/21.2.199.

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21

Yassine, Abdel-Qader. "Understanding Modernity on One’s Own Terms." American Journal of Islam and Society 15, no. 2 (July 1, 1998): 47–61. http://dx.doi.org/10.35632/ajis.v15i2.2197.

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How can the movements fighting for an Islamic state in which Shari’ah(the Islamic Law) rules supreme best be understood-as part of a worldwidereaction against modernist thought or as a broad and diverseattempt to understand and tackle the problems of modemity throughreconnecting with an indigenous system of references for producingmeaning? This is the main question discussed in this paper.Revolt Against the Modern Age?In his book Defenders of God: The Fundamentalist Revolt Against theModern Age,’ the American historian of religion Bruce B. Lawrence surveyswhat he identifies as “fundamentalist” movements within the threemajor religions of Semitic origin: Judaism, Christianity (AmericanProtestantism), and Islam. In seeking to understand how fundamentalistsrelate to the d i t i e s of the modem world, Lawrence makes a distinctionbetween modernity and modernism. Modernity is seen as the concretefacts of modem lie: the revolutions in production and communicationstechnalogy hu@ an by indusbialkm and the cowmnt changes inmaterial life and, to a certain extent, in social organization. Lawrence’sfundamentalists are not opposed to modernity, with the possible exception of the Natluei Karta group in Israel. They also are adept at utilizingthe most modem means of communications in their campaign or organizingactivities.Modernism, on the other hand, is what characterizes the new way ofthinking that has o c c d in the West as a result of, or at least alongside,the industrial and scientific revolutions. It is marked by a strong belief inthe powers of science and reason and by a basic skepticism toward anysubstantial, absolute truth. To the modernist mind no “truth” is immune ...

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22

Toosi, Javad Fakhkhar. "A Model for Reconciling Islamic Teachings with the Intellectual and Scientific Achievements of Modernity." ICR Journal 10, no. 2 (December 15, 2019): 264–79. http://dx.doi.org/10.52282/icr.v10i2.46.

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The current article seeks to present a model that reconciles Islamic teachings with the intellectual and scientific achievements of modernity. It attempts to develop a model that systematises the discourse on Islam and modernity while preserving its Islamic identity using qualitative methods. Thus, this article introduces a model called ‘moderate Islamic modernism’. This model does not acknowledge the achievements of modernity in their entirety, but only those intellectual and scientific achievements that are free from certain bias elements. This article will first distinguish between the proposed moderate model and that of ‘extreme Islamic modernism’. Secondly, this article compares the model with ‘Islamic traditionalism’. In brief, the proposed moderate model advocates the reconciliation of Islamic teachings with the intellectual and scientific achievements of modernity, as well as reforming the traditional method. The article concludes that the ‘moderate Islamic modernism’ approach to modernity and its rational elements not only provides a theoretical solution but is also compatible with genuine Islamic teachings. It is hoped that the two methods proposed by the model, particularly its method for differentiating elements within modernity, and its new approach on Islamic studies, will benefit future research on the subject matter.

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23

Moussaoui, Abderrahmane. "Islam et modernité / Islam and Modernity." Studia Islamica 115, no. 2-3 (December 21, 2020): 258–65. http://dx.doi.org/10.1163/19585705-12341427.

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24

Kolland, Daniel. "Global Performances of a Belated Concept." Cromohs - Cyber Review of Modern Historiography, no. 26 (June 4, 2024): 95–113. http://dx.doi.org/10.36253/cromohs-14516.

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This article uses a global concept history approach to critically engage with the semantically overdetermined and contested concept of modernity at the turn of the twentieth century. Eschewing grand theories, a more empirical method is applied by investigating the history of modernity as a concept used by historical actors. It thereby seeks to reveal anachronistic readings of it, as well as unearth the global scope of modernity performances. Tracing first West-European and then Ottoman-Turkish modernity translations (modernité, die Moderne, modernity, yeñilik, ʿaṣrīlik), the article shows how marginal this concept was in West-European discourse. The Turkish translations, in contrast, became central in indigenous reform rhetoric; ʿaṣrīlik (1916) even displayed a level of theoretical abstraction that West-European modernity concepts only acquired later. This analysis argues that the global circulation of the historical modernity concept was propelled by its semantic indeterminacy, normativity, and Eurocentrism, and thereby also critique modernity as an analytical concept.

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25

Meschonnic, Henri, Gabriella Bedetti, and Alice Otis. "Modernity Modernity." New Literary History 23, no. 2 (1992): 401. http://dx.doi.org/10.2307/469243.

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26

Kruzh Morzhadinu, Da Fonseka Vera. "HISTORICAL RESEARCH OF MODERNISM IN AFRICAN ARCHITECTURE OF LOW-RISE SOCIAL HOUSING." Construction Materials and Products 3, no. 2 (July 10, 2020): 55–62. http://dx.doi.org/10.34031/2618-7183-2020-3-2-55-62.

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the purpose of this study is to examine the emergence of modernism as a cultural response to the conditions of modernity to change the way people live, work and react to the world around them. In this regard, the following tasks were formulated: 1) study the development of modernism on the world stage, 2) identify its universal features, and 3) analyze how the independence of Central and sub-Saharan Africa in the 1950s and 1960s coincided with a particularly bright period of modernist architecture in the region, when many young countries studied and asserted their identity in art. The article analyzes several objects of modernist architecture in Africa: urban development projects in Casablanca (Morocco), Asmara (Eritrea), Ngambo (Tanzania). The main features and characteristics of modernism which were manifested in the African architecture of the XX century are also formulated. It is concluded that African modernism is developed in line with the international modernist trend. It is also summarized that modernism which differs from previous artistic styles and turned out to be a radical revolution in art is their natural successor.

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27

Charitonidou, Marianna. "Exhibitions in France as Symbolic Domination: Images of Postmodernism and Cultural Field in the 1980s." Arts 10, no. 1 (February 12, 2021): 14. http://dx.doi.org/10.3390/arts10010014.

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The article examines a group of exhibitions that took place in the late seventies and early eighties and are useful for grasping what was at stake regarding the debates on the tensions between modernist and post-modernist architecture. Among the exhibitions that are examined are Europa-America: Architettura urbana, alternative suburbane, curated by Vittorio Gregotti for the Biennale di Venezia in 1976; La Presenza del passato, curated by Paolo Portoghesi for the Biennale di Venezia in 1980; the French version of La presenza del passato—Présence de l’histoire, l’après modernisme—held in the framework of the Festival d’Automne de Paris in 1981; Architectures en France: Modernité/post-modernité, curated by Chantal Béret and held at the Institut Français d’Architecture (18 November 1981–6 February 1982); La modernité, un projet inachevé: 40 architectures, curated by Paul Chemetov and Jean-Claude Garcias for the Festival d’Automne de Paris in 1982; La modernité ou l’esprit du temps, curated by Jean Nouvel, Patrice Goulet, and François Barré and held at the Centre Pompidou in 1982; and Nouveaux plaisirs d’architecture, curated by Jean Dethier for the Centre Pompidou in 1985, among other exhibitions. Analysing certain important texts published in the catalogues of the aforementioned exhibitions, the debates that accompanied the exhibitions and an ensemble of articles in French architectural magazines such as L’Architecture d’aujourd’hui and the Techniques & Architecture, the article aims to present the questions that were at the centre of the debates regarding the opposition or osmosis between the modernist and postmodernist ideals. Some figures, such as Jean Nouvel, were more in favour of the cross-fertilisation between modernity and postmodernity, while others, such as Paul Chemetov, believed that architects should rediscover modernity in order to enhance the civic dimension of architecture. Following Pierre Bourdieu’s approach, the article argues that the tension between the ways in which each of these exhibitions treats the role of the image within architectural design and the role of architecture for the construction of a vision regarding progress is the expression of two divergent positions in social space.

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28

Ferrer, Albert. "From post-modernism to modernity again. From modernity to a paradigm shift." Educational Philosophy and Theory 50, no. 14 (November 25, 2018): 1428–29. http://dx.doi.org/10.1080/00131857.2018.1458800.

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29

van Eijnatten, Joris, Ed Jonker, Willemijn Ruberg, and Joes Segal. "Shaping the Discourse on Modernity." International Journal for History, Culture and Modernity 1, no. 1 (March 28, 2013): 3–20. http://dx.doi.org/10.5117/hcm2013.1.eijn.

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Анотація:

In this opening article, the editors of History, Culture and Modernity provide an overview of recent debates relating to “modernity”, inviting prospective authors to participate in a reflexive conversation on this contested concept, which is, at the same time, a practical reality. Modernity is on endless trial, suggesting evaluation and permanent criticism. The most disputed aspects of modernity range from its supposedly secular character and its strong connection to western science. Responses to these and other conspicuous features of modernity include Romanticism and various critiques of Enlightenment rationality, but also artistic modernism and the postcolonial attack on Eurocentrism. New approaches to the study of modernity try to accept its ambiguity, rather than reaffirm the conventional binary approach, and pay more attention to global and experiential aspects. A cultural history of modernity can help to expand such new approaches.

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30

Moore, Daniel. "Editor's Introduction: Modernism, Aesthetics, Historiography." Modernist Cultures 3, no. 2 (May 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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31

Singer, B. "Introduction: Modernism, Modernity, and the Senses." Monatshefte XCVIII, no. 2 (June 1, 2006): 175–79. http://dx.doi.org/10.3368/m.xcviii.2.175.

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32

Harpin, Tina. "Modernism/Modernity, vol. 13, no 3." Itinéraires, no. 2009-3 (November 1, 2009): 192–96. http://dx.doi.org/10.4000/itineraires.572.

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33

Elizabeth Wolde Giorgis. "Charting Out Ethiopian Modernity and Modernism." Callaloo 33, no. 1 (2010): 82–99. http://dx.doi.org/10.1353/cal.0.0627.

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34

Berry, Francesca. "Modernity, Modernism and Sexual Difference, Again." Oxford Art Journal 30, no. 2 (June 1, 2007): 327–34. http://dx.doi.org/10.1093/oxartj/kcm001.

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35

Hong, Jeesoon. "Modernism and Modernity in Republican China." Journal of Modern Chinese Literature 88 (January 31, 2019): 149–73. http://dx.doi.org/10.46487/jmcl.2019.01.88.149.

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36

Araeen, Rasheed. "Modernity, Modernism and Africa’s Authentic Voice." Third Text 24, no. 2 (March 2010): 277–86. http://dx.doi.org/10.1080/09528821003722272.

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Mathew, Shaj. "The Multiple Simultaneous Temporalities of Global Modernity: Pamuk, Tanpınar, Proust." Modern Language Quarterly 82, no. 4 (December 1, 2021): 473–98. http://dx.doi.org/10.1215/00267929-9365970.

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Abstract This essay proposes the theory of multiple simultaneous temporalities as a constitutive feature of global modernism. It spotlights varieties of heterogeneous time—outside but alongside the homogeneous empty time of clocks and calendars—in modernist literature. These overlapping temporalities replace the linear succession of past, present, and future with a principle of nonteleology. The multiple simultaneous temporalities of these works analogize the multiple simultaneous temporalities of global modernity. Thus the temporalization of difference that separates developed nations from developing ones is refuted by the pluralization of temporality. The simultaneity of these temporalities denies, a priori, the ideology of progress. The essay makes this point through a series of interlaced epiphanies about time, across time, staging an East-West comparison that reflects the creole nature of global modernity. It does so via readings of interconnected novels by Orhan Pamuk, Ahmet Hamdi Tanpınar, and Marcel Proust.

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Sharara, Hussein. "Modern and Contemporary Architecture Between Western and Arab Countries: A Review of Derivative Synonyms." European Scientific Journal, ESJ 18, no. 16 (May 31, 2022): 133. http://dx.doi.org/10.19044/esj.2022.v18n16p133.

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The most common approaches to contemporary architecture are described as 'modern', yet the terms 'modern' and 'contemporary' possess different contextual weights, resulting in a difference in terminological synonymy. This research examines the phenomenon that emerged in the late twentieth century, processes its conflicts, and describes several interrelated implications for understanding modernity and contemporariness. This research discusses the confusion between contemporary and modernist architectural representation by analyzing Western and Arab visions. Furthermore, it explores the study with inductive logic that takes an analytical turn to analyze, compare, and explore the real causes of the problem. The research also aims to analyze the impact of modernism, the semantic evolution of 'modernity', and our arrival to the contemporary, considering neoliberalism and globalism. The research concluded that separating the idiomatic language from the architectural language is necessary. Furthermore, it found that contemporary ended as an architectural style and continued as a cultural movement.

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Mao, Douglas, and Rebecca L. Walkowitz. "The New Modernist Studies." PMLA/Publications of the Modern Language Association of America 123, no. 3 (May 2008): 737–48. http://dx.doi.org/10.1632/pmla.2008.123.3.737.

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In our introduction to bad modernisms, we traced the emergence of the new modernist studies, which was born on or about 1999 with the invention of the Modernist Studies Association (MSA) and its annual conferences; with the provision of exciting new forums for exchange in the journals Modernism/Modernity and (later) Modernist Cultures; and with the publication of books, anthologies, and articles that took modernist scholarship in new methodological directions. When we offered that survey, one of our principal interests was to situate these events in a longer critical history of modernism in the arts. In the present report, we want to attend more closely to one or two recent developments that may be suggestive about the present and the immediate future of the study of modernist literature. Part of the empirical, though certainly far from scientific, basis of our considerations lies in our recent service on the MSA Book Prize committee (Walkowitz in 2005, Mao in 2006), through which we became acquainted with dozens of recent contributions to the field.

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Fehskens, Matthew Thomas. "The Contact Zones of Modernista Travel Literature: Modernism, Modernity, and the Hispanic Atlantic." Hispanófila 171, no. 1 (2014): 303–19. http://dx.doi.org/10.1353/hsf.2014.0043.

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Karagiannis, Evangelos. "Secularism in Context: The Relations between the Greek State and the Church of Greece in Crisis." European Journal of Sociology 50, no. 1 (April 2009): 133–67. http://dx.doi.org/10.1017/s0003975609000447.

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AbstractThe present article addresses the question of secularism in Greece. It discusses the prevalent modernist and civilisationist explanations of the recent crisis in state-church relations in Greece. Based on the idea that there is neither a single route to, nor a single pattern of, modernity and secularism, the article argues that the entanglement between state and church in modern Greece does not necessarily indicate either incomplete modernity or incomplete secularism. The paper emphasises both the structural weakness of the Orthodox Church in the modern Greek state and the secularisation of the church's ideology as core dimensions of the particular pattern of secularism in this country. The recent crisis is interpreted as a result of the twofold challenge of democratisation and globalisation that this historically grown pattern of secularism is facing over the last decades. Further, the article seeks to demonstrate that the nationalist stance of the Church of Greece should not be seen as persistent blind traditionalism and anti-modernism.

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Danova, Sirma. "Penčo Slavejkovs „Arbeit in der Gegenwart“." Zeitschrift für Slawistik 64, no. 1 (March 2, 2019): 23–39. http://dx.doi.org/10.1515/slaw-2019-0003.

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Summary This article focuses on Pencho Slaveykov’s concept of “work in the present,” which forms the core of his definition of modernity, blending together literature and social experience. Slaveykov’s literary project and author persona are viewed in the broader context of aesthetic modernity. The Bulgarian modernist is a cultural engineer pushing the idea of a differentiation of cultural and artistic spheres. His goal is to autonomize literature after the utilitarian imperatives of the Bulgarian National Revival. The author simultaneously embodies a Balkan ‘crank’ and a German conceptualist. Slaveykov’s work not only demonstrates that modernism has broken with the past, but also constructs an alternative cultural memory shaped in the generic modes of the epic, the lyric, and the anthology. The author entitles himself with the power to be a guardian of cultural memory. Pencho Slaveykov’s conceptualizations envisage the creation of the author as an institution pivotal for the construction of a national literature.

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Jeyaraj, Joseph. "Modernity and Empire: A Modest Analysis of Early Colonial Writing Practices." College Composition & Communication 60, no. 3 (February 1, 2009): 468–92. http://dx.doi.org/10.58680/ccc20096967.

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During colonial times, various British Indian educational institutions and practices, including writing pedagogies at these institutions, introduced modernity to British India. This essay explains the manner in which some students internalized modernity and in their writings used modernist beliefs and premises to critique some precolonial Indian discourses.

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Ezzat, Heba Raouf. "Islam and Modernity." American Journal of Islam and Society 16, no. 3 (October 1, 1999): 125–29. http://dx.doi.org/10.35632/ajis.v16i3.2109.

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The relation between Islam and modernity is a controversial topic and draws theattention of both Mush and non-Muslim scholars. Islam and Modernity bringstogether the ideas of a number of contemporary modernist and liberal Muslimthinkers and examines their ideas, which attempt to respond to the challenges ofthe postcolonial situation. The book comprises a collection of articles that analyzethe thought of a wide variety of figures from North Africa, Egypt, Syria, Iran, andIndia and from both Sunni and Shi’i backgrounds. In so doing, it attempts to presenta new “map” that goes beyond the usual categorization of Islamic thoughtaccording to area, language, or school of thought. For the most part, these thinkerspostdate the early wave of “modernist” thinkers, such as Muhammad Abduh andRashid Rida, and often differ from them in their thought - particularly in theirapproach to the Qur’an, their evaluation of Islamic law, and their ideas on the connectionbetween Islam and politics.In his introduction, Derek Hopwood raises the central issue of the book, whichis how change can be integrated into society and particularly how the challenges ofmodernization can be integrated into Muslim societies. He argues that change iscaused by a variety of factors but that tension occuts when a traditional society ischallenged by the outside world, or when attempts are made to modernize it fromwithin. In the Islamic world, for example, it was the European influence, h u g hthe experience of colonization, that came to challenge the established ideas andcustoms, and raised the issue of “modernity” in the minds of intellectuals.Hopwood also hies to make a distinction between “modernization” and “modemity.”Whereas “modernization” refers to the artihcts of modem life (transport, communication,industry, technology, e&.) and is the general term used for the politicaland cultural processes initiated by the integration of new ideas and new economicsystems, “modemity” is a system of thought and a way of living in the contemporaryworld that is open to change.In the first chapter, Javed Majeed explores some appropriations of Europeanmodernity that appear in late nineteenth century Urdu literam and focuses on thework of two of the main proponents of the Aligarh Movement, Sayyid AhmadKhan (1817-1898) and Altaf Hussain Hali (1837-1914). The aim of the AligarhMovement was to enable the Muslim Urdu-speaking elite, which it repsented, toadjust to the realities of British power after the suppression of the Indian rebellionof 1857. Sayyid Ahmad Khan played a central role in the establishment of theMuhammadan AngIo-Oriental College in 1875 and was a key figure in defining“Islamic modernism” in India ...

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Kaya, Ibrahim. "Conceptualizing the current clashes between modernist republicans and Islamic conservatives in Turkey." Social Science Information 51, no. 1 (March 2012): 3–21. http://dx.doi.org/10.1177/0539018411425831.

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Resume This article aims to foster a deeper understanding of the current clashes between modernist republicans and Islamic conservatives in Turkey. Through an examination of the relation of conservatism to modernity, I argue that there exists a conservative goal of ‘overcoming modernity’, though in a paradoxical form, which is crucial for our comprehension of this conflict. Central here is the Islamic conservative resistance to the ‘cultural program of modernity’. Indubitably, it would be fallacious to impute to (neo-)conservatism an orientation that challenges modernity in toto. Indeed, one need only consider the economy and technology to see how far the modern has captured the conservative imagination. However, the culture of modernity is a different matter and this is the aspect I concentrate on here. After first examining the (old) conservative reaction against the great transformations of modernity, I consider the contention that Turkish society has recently become conservative, and end with an analysis of republican opposition to recent government acts.

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Euben, Roxanne L. "Premodern, Antimodern or Postmodern? Islamic and Western Critiques of Modernity." Review of Politics 59, no. 3 (1997): 429–60. http://dx.doi.org/10.1017/s0034670500027674.

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The steadily increasing appeal of Islamic fundamentalist ideas has often been characterized as a premodern, antimodern or, more recently, as a postmodern phenomenon. To explore the relationship of Islamist political thought to modernity, and the usefulness of the terminology of “modernity” to situate and understand it, this article explores two comparisons. The first is a comparison across time, and involves the juxtaposition of a prominent nineteenth century Islamic “modernist” and the critique of modernity by an influential twentieth century Islamic fundamentalist thinker. The second is a comparison across cultures, and involves the juxtaposition of this Islamic fundamentalist critique and many Western theorists similarly critical of “the modern condition.” These comparisons suggest that Islamic fundamentalist political thought is part of a transcultural and multivocal reassessment of the value and definition of “modernity.” Such reassessments should be understood in terms of a dialectical relationship to “modernity,” one that entails not the negation of modernity but an attempt to simultaneously abolish, transcend, preserve and transform it.

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Jianjiang, Wang. "Where is Bie-Modern Going? Responding to Professors who study Bie-modern Theories." Asian Journal of International Affairs 1, no. 1 (December 31, 2021): 55–65. http://dx.doi.org/10.3126/ajia.v1i1.44752.

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“Bie-modern” is a theory about social form. It refers to “doubtful modernity” or pseudo modernity, manifested in the hybridity of the modern, pre-modern and post-modern. At present, Bie-modern theory is applied in philosophy, aesthetics, literature, linguistics, art, design, psychology, tourism, law, economics, and Human-Computer Interaction. Bie-modernism is to seek the direction of future development in the mixed society and to reduce human misjudgments and errors on the way forward. Therefore, it is the priority of Bie-modernism to distinguish between truth and falsehood. Where is Bie-modern going? Firstly, we shall leave the ambiguity of the word “Bie”, to distinguish the difference between Bie-modernism and “plural modernity”, to distinguish true and false modernity, to distinguish the difference between Bie-modernism and modernism and post-modernism. Secondly, towards authenticity, to seek the truth and reality and implement the real modernity. Thirdly, we will be implementing life equity/life stocks, an inherent right to life of every individual, and the share that the right to life holds in the total wealth of society that cannot be deprived, transferred for the whole of their life, that means the right to enjoy free medical care, free education, free old-age pension, and the right to food, clothing, housing, and transportation. To realize human life equity/life stocks, the historical mission of society lies in eliminating the proletariat rather than the bourgeoisie. Life equity/life stocks is a primitive and real right, which is not influenced by acquired ideas and has the most irreplaceable dignity and value of life. Life equity/life stocks are closely related to human well-being and aesthetic feeling, and it has become the source of both. Lastly, we will be upholding “Bie”, the distinguishing, to the end through entering the ideological market and keeping authenticity, implementing life equity/life stocks, and the Great-leap-forward Pause of Bie-modernism. At present, Bie-modernism has rippled in the United States and the European Union. In the future, we will bring it to more countries and regions. The future development of Bie-modernism will focus on returning to the origins and implementing life equity/life stocks.

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Lee, Raymond L. M. "MODERNITY, ANTI-MODERNITY AND POST-MODERNITY IN MALAYSIA." International Sociology 7, no. 2 (June 1992): 153–71. http://dx.doi.org/10.1177/026858092007002003.

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Morrisson, Mark S. "Apocalypse 1917: Esoteric Modernism and the War in Aleister Crowley's Moonchild." Modernist Cultures 12, no. 1 (March 2017): 98–119. http://dx.doi.org/10.3366/mod.2017.0158.

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This article explores the apocalyptic fervor of 1917 as a context for the rise of the esoteric modernism of W. B Yeats and Aleister Crowley, paying special attention to the contributions of Crowley's Moonchild to a specifically modernist form of esoteric fiction. Moonchild featured a modernist synthesis of ritual, transpersonal epistemology, experimental prose, and a play of competing popular genres in a contemplative fiction that continued to impact twentieth-century culture well beyond the death of its author. This literature turned to communications with spirit entities and to ritual magic to reveal spiritual interpretations of a world in which the flux of modernity augured technologically sophisticated war as a permanent state of affairs, the world of 1917.

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Vido, Roman. "Náboženství a modernita v současné sociologii náboženství." Sociální studia / Social Studies 5, no. 3-4 (October 1, 2008): 27–51. http://dx.doi.org/10.5817/soc2008-3-4-27.

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Článek se zabývá otázkou vztahu mezi modernitou a náboženstvím. Klasické sekularizační teorie předpokládaly, že s příchodem modernity ztrácí (tradiční) náboženství svůj společenský vliv a význam stejně jako dopad na životy moderních jedinců. Toto tvrzení se stalo známým jako "sekularizační teze". Nicméně empirická realita nepotvrdila takové proroctví: náboženství nadále představuje důležitý prvek v sociálním světě. Sociologové náboženství byli nuceni přehodnotit své teoretické představy a koncepty a přiznat, že dopad modernity na náboženství může být složitější a víceznačnější, než tvrdili jejich předchůdci. Text uvádí několik autorů, kteří se zabývají teoretickými úvahami o osudu náboženství v modernitě a kteří sdílejí přesvědčení o schopnosti modernity vytvářet své vlastní specifické formy náboženství, odlišné od těch tradičních.

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