Suchergebnisse

Casting fresh light on the renowned productions of auteurs like Antonioni, Fellini, and Bresson and drawing out from the shadows a range of important but lesser-known works, Screening Modernism is the first comprehensive study of European art cinema?s postwar heyday. Spanning from the 1950s to the 1970s, András Bálint Kovács?s encyclopedic work argues that cinematic modernism was not a unified movement with a handful of styles and themes but rather a stunning range of variations on the core principles of modern art. Illustrating how the concepts of modernism and the avant-garde variously manif.

Is the nation an 'imagined community' centered on culture or rather a biological community determined by heredity? Modernism and Eugenics examines this question from a bifocal perspective. On the one hand, it looks at technologies through which the individual body was re-defined eugenically by a diverse range of European scientists and politicians between 1870 and 1940; on the other, it illuminates how the national community was represented by eugenic discourses that strove to battle a perceived process of cultural decay and biological degeneration. In the wake of a renewed interest in the history of science and fascism, Modernism and Eugenics treats the history of eugenics not as distorted version of crude social Darwinism that found its culmination in the Nazi policies of genocide but as an integral part of European modernity, one in which the state and the individual embarked on an unprecedented quest to renew an idealized national community.

Bringing together leading critics and literary scholars, A New Vocabulary for Global Modernism argues for new ways of understanding the nature and development of twentieth-century literature and culture. Scholars have largely understood modernism as an American and European phenomenon. Those parameters have expanded in recent decades, but the incorporation of multiple origins and influences has often been tied to older conceptual frameworks that make it difficult to think of modernism globally. Providing alternative approaches, A New Vocabulary for Global Modernism introduces pathways through global archives and new frameworks that offer a richer, more representative set of concepts for the analysis of literary and cultural works. In separate essays each inspired by a critical term, this collection explores what happens to the foundational concepts of modernism and the methods we bring to modernist studies when we approach the field as a global phenomenon. Their work transforms the intellectual paradigms we have long associated with modernism, such as tradition, antiquity, style, and translation. New paradigms, such as context, slum, copy, pantomime, and puppets emerge as the archive extends beyond its European center. In bringing together and reexamining the familiar as well as the emergent, the contributors to this volume offer an invaluable and original approach to studying the intersection of world literature and modernist studies

Aesthetic Modernism and Masculinity in Fascist Italy is an interdisciplinary historical re-reading of a series of representative texts that complicate our current understanding of the portrayal of masculinity in the Italian fascist era. Examining paintings, films, music and literature in light of some of the ideological and material contradictions that animated the regime, it argues that fascist masculinity was itself highly contradictory. It brings to the fore works that have tended to be under-studied, and argues that, while fascist inclusive strategies of patronage worked to bind artists to.

Despite the prominence of feminist theory in literary, film, and visual arts critique, feminist theories of aesthetics remain rare, obscuring a crucial chapter in women's history. Ewa Plonowska Ziarek redresses this oversight through a full articulation of feminist aesthetics, focusing on the struggle for freedom in women's literary and political modernism and the devastating impact of racist violence and sexism. Her study is one of the first to combine an in-depth engagement with philosophical aesthetics, especially the work of Theodor W. Adorno, with women's literary modernism, particularly

Containing 59 texts, this volume presents and illustrates the development of the ideologies of nation states, the "modern" successors of former empires. They exemplify the use modernist ideological framaeworks, from liberalism to socialism, in the context of the fundamental reconfiguration of the political system in this part of Europe between the 1860s and the 1930s. It also gives a panorama of the various solutions proposed for the national question in the region.

"While National Socialist exhibitions are seen as platforms for attacking modern art, they also served as sites of surprising formal experimentation among artists, architects, and others, who often drew upon the practices and principles of modernism when designing exhibition spaces. Michael Tymkiw reveals that a central motivation behind such experimentation was the interest in provoking what he calls "engaged spectatorship.""--

Our lives are increasingly dominated by new forms of image, sound, data, and language media. Marshall McLuhan called this new order of things the Global Village, and he strove to be true to it as the media-popular 'McLuhan.' Having little use for traditional critical forms or values, and courting instead the discourses of popular culture and big business, McLuhan displayed the authentic, ambivalent place of critical self-reflection in our media-centred world. McLuhan, according to Willmott, must be understood as a vital link in a generation of modern and postmodern critics, one who extracted modernist forms and values from the deconstructions of postmodern culture, and one who forced into public view the emergence of the critical intellectual as 'being-in-media.' Willmott's book fills the need for a first critical, historical, and theoretical re-reading of McLuhan's literary and cultural projects

Cet article se concentre sur le travail de l'Art Society, groupe artistique formé au Nigeria (1957-1961), comme première manifestation significative d'un modernisme postcolonial, envisagé comme ensemble d'attitudes formelles et critiques adoptées par les artistes africains et noirs à l'aube de l'Indépendance politique du Nigeria. L'Art Society a souligné l'importance des ressources artistiques locales dans la réalisation d'un travail résolument moderniste, modèle esthétique qu'il a théorisé sous le nom de synthèse naturelle . La logique sous-jacente à la synthèse naturelle était basée sur la notion dialectique de réconciliation entre deux esthétiques opposées (les traditions de l'art africain et de l'art occidental). Quoique typique de l'avant-garde du début du xx e siècle, la synthèse naturelle n'était ni un appel à une rupture totale avec la tradition coloniale, ni une déclaration de rejet par l'artiste de la modernité occidentalisée en retournant à une culture indigène authentique et imaginaire.

Leonid Heller, Nécro-, rétro-, ou post ? modernismes, modernité et réalisme socialiste.
L'article constitue une prise de position dans un débat qui s'est installé ces dernières années autour de la situation actuelle de l'art occidental et soviétique. D'abord, plusieurs acceptions des termes « modernisme » et « postmodernisme » sont passées en revue, ainsi que les rapports que différents théoriciens - Lyotard, Habermas, Meschonnic, Compagnon - établissent entre les esthétiques modernistes et avant-gardistes. Ensuite, après une brève analyse de la conception de B. Groys, selon laquelle le réalisme socialiste réaliserait les postulats fondamentaux de l'avant-garde russe, deux propositions méthodologiques sont formulées. La première concerne l'élargissement de la perspective historique au delà de la confrontation avant -garde/réalisme socialiste : l'examen doit remonter jusqu'aux origines du « modernisme » et démontrer d'éventuelles ruptures ou au contraire une continuité de ce dernier. La deuxième stipule une organisation de la démarche analytique selon les axes définis par ce que l'on pourrait appeler le « paradigme culturel ». La description du paradigme moderniste russe est ici esquissée, ainsi qu'une tentative de rendre compte, à la lumière de celle-ci, de l'évolution entre le modernisme du début du siècle, le réalisme socialiste et l'art « posttotalitaire ».

L'auteure tente de montrer, rompant avec les études esthétiques dominantes, les enjeux socio-sexués de la Nouvelle Vague cinématographique qui émerge, au tournant des années 60, dans un champ jusque-là dominé par la culture de masse. Les jeunes cinéastes masculins qui en sont le moteur revendiquent l'héritage du romantisme et du modernisme pour légitimer l'expression de leur subjectivité et une invention formelle qui les démarquent du cinéma populaire. Leurs films sont construits sur un schéma dominant, celui d'un (ou plusieurs) personnage masculin, alter ego de l'auteur, qui se heurte dans la construction de son identité aux dangers liés à l'Autre féminin, aussi séduisant qu'opaque. D'autres films, moins nombreux, décrivent de l'extérieur un personnage féminin qui incarne l'aliénation de la culture de masse. Le cinéma d'auteur se nourrit ainsi d'un clivage ancien qui associe d'une part la créativité au masculin, d'autre part la culture de masse au féminin.

"This volume focuses on the modernist and avant-garde engagement with workers' sport events that were organised or were planned to be organised in the cities of Central Europe and the USSR in the period of 1920-1932: Frankfurt am Main - Vienna - Moscow - Prague - Budapest - Berlin. This volume is of great use to students and scholars of the history of sport, art history and cultural history in interwar Europe and the Soviet Union"--