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Polish modern art was collected by leading figures within America's cultural vanguard. Most prized the art's stylistic innovation; they were likely unaware of the ideological charge that animated modernism's makers. By the end of the 1930s, numerous exhibitions of Polish art had been mounted in the United States; however, few concentrated on strikingly innovative works, preferring instead traditional themes, genres, and styles. Nonetheless, Poland's modernist efforts garnered popular success at the New York World's Fair of 1939. The modern art from other central and eastern European nations was actively promoted by its makers, who had immigrated to the United States. Poland's modern art did not benefit from a similar presence, its modernists having mostly elected to remain in their native land. The paucity of Polish artists in 1930s America compromised their chance to exercise an influential role just as the United States was consolidating an international canon of modern art.

Friedrich Nietzsche hat zahlreiche Schriftsteller der klassischen Moderne fasziniert. Insbesondere die visionären Aufbruchsappelle seiner späten philosophischen Schriften sind von vielen Künstlern begeistert aufgenommen worden. Während die frühe Nietzsche-Rezeption von enthusiastischen Huldigungen, mitunter jedoch auch von scharfen Attacken geprägt ist, finden sich in den Jahren nach 1900 häufig vermittelnde Stellungnahmen. Zu den prominentesten Vertretern einer kritisch distanzierten Anerkennung gehört Thomas Mann, der sich schon früh gegen Nietzsches Vitalismus wendet, zugleich aber die psychologische Hellsichtigkeit des Philosophen würdigt. Der vorliegende Sammelband untersucht die Literatur der klassischen Moderne und berücksichtigt dabei vor allem deren Verflechtung mit jenen kulturpsychologischen, gesellschaftskritischen und epochendiagnostischen Diskursen, die Nietzsche angestoßen und radikalisiert hat. Rund zwanzig Beiträge analysieren Nietzsches Einfluss auf Schriftsteller wie Hugo von Hofmannsthal, Stefan George, Georg Trakl, Franz Kafka, Thomas Mann, Robert Musil, Gerhart Hauptmann und Gottfried Benn. In komparatistischen Ausgriffen wird zudem die Nietzsche-Rezeption in Frankreich beleuchtet.

This article analyses the evolution of the English school's approach to international relations from the work of the early British Committee in the late 1950s and early 1960s to its revival in the 1990s and afterwards. It argues that the school's so-called 'classical approach' was shaped by the crisis of developmental historicism brought on by the First World War and by the reactions of historians like Herbert Butterfield and Martin Wight to the rise of modernist social science in the twentieth century. It characterises the classical approach, as advanced by Hedley Bull, as a form of 'reluctant modernism' with underlying interpretivist commitments and unresolved tensions with modernist approaches. It argues that to resolve some of the confusion concerning its preferred approach to the study of international relations, the English school should return to the interpretivist commitments of its early thinkers.

In A Political Economy of Modernism, Ronald Schleifer examines the political economy of what he calls 'the culture of modernism' by focusing on literature and the arts; intellectual disciplines of post-classical economics; and institutional structures of corporate capitalism and the lower middle-class. In its wide ranging study focused on modernist writers (Dreiser, Hardy, Joyce, Stevens, Woolf, Wells, Wharton, Yeats), modernist artists (Cézanne, Picasso, Stravinsky, Schoenberg), economists (Jevons, Marshall, Veblen), and philosophers (Benjamin, Jakobson, Russell), this book presents an institutional history of cultural modernism in relation to the intellectual history of Enlightenment ethos and the social history of the second Industrial Revolution. It articulates a new method of analysis of the early twentieth century - configuration and modeling - that reveals close connections among its arts, understandings, and social organizations.

Cover -- Half Title -- Title -- Copyright -- Contents -- Acknowledgements -- 1 Introduction: definitions and debates -- 2 Early theoretical debates, 1848-1914 -- Nineteenth-century historiography and nationalism -- Early contributions to a 'theory' of nationalism -- Marxism and the early contribution of the social sciences -- 3 Interwar debates, 1918-39 -- The impact of the First World War -- Psychology and theories of nationalism -- 'Pioneering' historians of nationalism during the 1930s -- 4 The origins of 'classical modernism', 1945-69 -- The Second World War and the 'peculiarity' of German nationalism -- Historians and nationalism in the 1950s and 1960s -- Early 'classical modernism' -- 5 The rise and fall of 'classical modernism', 1970-2003 -- The consolidation of 'classical modernism' -- Ethno-symbolism and the challenge to 'classical modernism' -- Recent theoretical innovation -- 6 Conclusion -- Bibliography -- Index.

In recent times revisionist histories have sought to reposition modernism in the light of today's postcolonial globalism. In seeking to assess such revisionism, this essay addresses the metaphysics of modernism through the lens of its otherings-in particular its othering of indigenous art-in two bookend moments. The first is at the dawn of modernism, in the cosmopolitan criticism of the critic and poet Charles Baudelaire, whose theory of modernite is widely considered a prototype of classical Western modernism. The second is in the twilight of modernism, mainly in the influential postcolonial critique of Okwui Enwezor. Motivated by the quest to redeem African modernism, he embarked on an ambitious project of reconfiguring (re-mapping) the project of modernity in the light of postcolonial globalism, as if, like Bourriaud, he wants to 'create a form of modernism for the twenty-first century.'. Adapted from the source document.

The Study of Classical Persian Literature Can be Separated from the study of modern Persian literature for heuristic reasons—one can be emphasized more than the other in teaching, and the path away from classicism to modernism and beyond can be charted—but it is impossible to draw a decisive line dividing the two. The modern develops out of the classical and constantly interacts with it. The two may be separated, but in the end Persian literature is one and is best thought of as such. The present review, in which classical literature will be the focus, is one such heuristic occasion.This review will survey the field in terms of the major concerns of literary scholarship that are affected by the work of the Encyclopaedia Iranica and will try to illuminate the role of this reference work as a source of, and an aid to, literary scholarship.

Classicism and Modernism in German Administration.
The German administrative System is at once both modem and classical. It is modern because it encompasses a distribution of functions via a series of sub-systems and contains autonomous areas of activity. It is classical because its mode of organisation has lasted despite political changes, because it is enriched by a legal culture which respects the principle of legality and because it is integrated into the world of economies. As in the rest of Europe, the scarcity of public resources dominates the question of the evolution of Germany's administration. This does not necessarily mean a lesser role for the State, but involves a redeployment of State intervention in new areas of activity.

Neoeclecticism was one of the stylistic trends of the interwar architecture. It was based on the classical architectural language and especially flourished in the 1930s parallel with the then dominant Modern movement. Roots and development of this stylistics in different countries and in Latvia are studied in the article, and its innovative nature in the context of Modern movement is analysed. Historical place of Neoeclecticism and its value in the cultural heritage is identified. All figures in the text are photographs by the author, unless stated otherwise.

1. Narrating the mood of the times : confusion, self-doubt, and ambivalence -- 2. The problem of modernity -- 3. The theorists of modernity : an introduction to Max Weber, Karl Marx, Emile Durkheim and Freidrich Nietzsche -- 4. The problem of classical criminology : stabilising disorder through law, or how to achieve the rule of law and hide the chaos of early modernity -- 5. Reading the texts of classical criminology : beyond mere command into systematic legitimation -- 6. Criminological positivism I : the search for the criminal man, or the problem of the duck -- Criminological positivism II : psychology and the positivisation of the soul -- 8. Criminological positivism III : statistics, quantifying the moral health of society and calculating nature's laws -- 9. Positivism and the dream of organised modernity -- 10. Morality, normalcy and modernity : the moral intensity of everyday life -- 11. Locality and criminology : from the polis to the post-modern city -- 12. Criminology and the culture of modernity -- 13. Culture and crime in the post-modern condition -- 14. Labelling theory, and the work of David Matza -- 15. Crime and the existentialist dilemma -- 16. Modernity, gender and crime : from the biological paradigm into feminist interpretations -- 17. Contemporary social stratification and the development of the underclass -- 18. Building criminological theory in post-modernism.

The article deals with Islamic Neomodernism («Progressive Islam», «Liberal Islam»), a modern current of Islamic thought that combines the ideas of classical tradition and modern Islamic studies. The article notes that Neomodernism is gradually transforming from a living thought into an ideological construct with its dogmas and non-refl exive propositions. Its weak aspects include: 1) insuffi cient attention to the peculiarities of the situation of modernity; 2) lack of comprehension of the relation between the ethical and the legal; 3) lack of a theory of the ethical; 4) insuffi cient attention to the procedure of thematization of values; 5) lack of an institutionalization strategy. The purpose of this article is to provide a productive critique of neomodernism and to pave the way for its further development.

AbstractDiscourses of sexuality, gender and sexual orientation are moving from the margins to the mainstream of legal theory, notably in the area of international human rights. Each of these three sets of discourses preserves its own history and ideals. Neither are they wholly distinct from each other, nor are they simply three concepts denoting the same thing. Each has remained quasi-autonomous – always related to, yet always stubbornly distinct from, the others. No one of these three discursive sites can be engaged without significant reference to the other two; nor does one site simply reduce to another. What do we mean, then, when we use one of these terms, and when we choose it instead of the other two? What relationships obtain among the three sites? This essay proposes not an exhaustive analysis of those relationships, but only an approach that might be followed were such a broader analysis to be undertaken. It is argued that these three sites correlate to three intellectual moments – classical, modernist and post-modernist – in the constitution of the human subject within international human rights law. As an initial matter, this correlation can be understood to be straightforward: discourses of sexuality correlated to classicism, discourses of gender correlated to modernism, discourses of sexual orientation correlated to post-modernism. Closer analysis, however, reveals a more complex set of relationships, in which each of the three sites corresponds to each of the three intellectual moments. None of the three sites is `pure'. Each retains an ongoing dialogue with the others and within itself.