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Some of the most exciting and innovative work in the humanities is occurring at the intersection of intellectual history and critical theory. This volume includes work from some of the most prominent contemporary scholars in the humanities.
Modernity theory approaches modern experience as it incorporates a sense of itself as ‘modern’ (modernity), along with the possibilities and limitations of representing this in the arts and culture generally (modernism). The book interrogates modernity in the name of a fluid, unsettled, unsettling modernism. As the offspring of the Enlightenment and the Age of Sensibility, modernity is framed here through a cultural aesthetics that highlights not just an instrumental, exploitative approach to the world but the distinctive configuration of embodiment, feeling, and imagination, that we refer to as ‘civilization’, in turn both explored and subverted through modernist experimentalism and reflexive thinking in culture and the arts. This discloses the rationalizing pretensions that underlie the modern project and have resulted in the sensationalist, melodramatic conflicts of good and evil that traverse our contemporary world of politics and popular culture alike. This innovative approach permits modernity theory to link otherwise fragmented insights of separate humanities disciplines, aspects of sociology, and cultural studies, by identifying and contributing to a central strand of modern thought running from Kant through Benjamin to the present. One aspect of modernity theory that results is that it cannot escape the paradoxes inherent in reflexive involvement in its own history.
In Modernist Poetry and the Limitations of Materialist Theory, Charles Altieri skillfully dissects the benefits and limitations of Materialist theory for works of art. He argues that while Materialist theory can intensify our awareness of how art can foreground sensual dimensions of experience, it does not yet serve as an adequate description of much of what we experience as mental activity—especially in the domain of art, which depends on active imaginations and constructive energies for which no Materialist theory is yet adequate. He carefully shows how constructive imaginations operate in a range of modernist poetry that is especially attentive to the mind’s powers because it provides alternatives to Impressionist sensibilities, which thrive on Materialist modes of attention. These modernists turned to versions of Hegel’s idea of the “inner sensuousness,” stressing how a work’s very construction can provide different levels of sensuousness inseparable from the work of self-consciousness.
In this book, a professor of literature and a physicist offer a broad, new, interdisciplinary account of Modernism. Thomas Vargish and Delo E. Mook encompass physics, the visual arts and literature in a thought-provoking analysis of the period from the 1880s to World War II. Uncovering common structures and values underlying each of these disparate fields, the authors define Modernism and its historical location between nineteenth-century intellectual conventions that preceded it and the Postmodernism that followed. Bridging boundaries that traditionally divide disciplines, Vargish and Mook create a uniquely coherent and comprehensive view of the aesthetics and intellectual values that characterize the culture of Modernism.
This second edition explores how money 'works' in the modern economy and synthesises the key principles of Modern Money Theory, exploring macro accounting, currency regimes and exchange rates in both the USA and developing nations.
Architectural Theory of Modernism presents an overview of the discourse on function-form concepts from the beginnings, in the eighteenth century, to its peak in High Modernism. Functionalist thinking and its postmodern criticism during the second half of the twentieth century is explored, as well as today's functionalism in the context of systems theory, sustainability, digital design, and the information society. The book covers, among others, the theories of Carlo Lodoli, Gottfried Semper, Eugène-Emmanuel Viollet-le-Duc, Louis Sullivan, Frank Lloyd Wright, Hannes Meyer, Adolf Behne, CIAM, Jane Jacobs, Robert Venturi and Denise Scott Brown, Charles Jencks, William Mitchell, and Manuel Castells.
The core of classical homotopy theory is a body of ideas and theorems that emerged in the 1950s and was later largely codified in the notion of a model category. This core includes the notions of fibration and cofibration; CW complexes; long fiber and cofiber sequences; loop spaces and suspensions; and so on. Brown's representability theorems show that homology and cohomology are also contained in classical homotopy theory. This text develops classical homotopy theory from a modern point of view, meaning that the exposition is informed by the theory of model categories and that homotopy limits and colimits play central roles. The exposition is guided by the principle that it is generally preferable to prove topological results using topology (rather than algebra). The language and basic theory of homotopy limits and colimits make it possible to penetrate deep into the subject with just the rudiments of algebra. The text does reach advanced territory, including the Steenrod algebra, Bott periodicity, localization, the Exponent Theorem of Cohen, Moore, and Neisendorfer, and Miller's Theorem on the Sullivan Conjecture. Thus the reader is given the tools needed to understand and participate in research at (part of) the current frontier of homotopy theory. Proofs are not provided outright. Rather, they are presented in the form of directed problem sets. To the expert, these read as terse proofs; to novices they are challenges that draw them in and help them to thoroughly understand the arguments.
In this overview of twentieth-century American poetry, Jennifer Ashton examines the relationship between modernist and postmodernist American poetics. Ashton moves between the iconic figures of American modernism - Stein, Williams, Pound - and developments in contemporary American poetry to show how contemporary poetics, specially the school known as language poetry, have attempted to redefine the modernist legacy. She explores the complex currents of poetic and intellectual interest that connect contemporary poets with their modernist forebears. The works of poets such as Gertrude Stein and John Ashbery are explained and analysed in detail. This major account of the key themes in twentieth-century poetry and poetics develops important ways to read both modernist and postmodernist poetry through their similarities as well as their differences. It will be of interest to all working in American literature, to modernists, and to scholars of twentieth-century poetry.
Presents recent advances of perturbative relativistic field theory in a pedagogical and straightforward way. For graduate students who intend to specialize in high-energy physics.
An ambitious and original work which uses early film theory, anthropological insights, and avant--garde film to explore the relation of cinema to ritual healing.