Download Free The Subjects Of Modernism Book in PDF and EPUB Free Download. You can read online The Subjects Of Modernism and write the review.

The question of modernity has provoked a vigorous debate in the work of thinkers from Hegel to Habermas. Anthony J. Cascardi offers an historical account of the origins and transformations of the rational subject of self as it is represented in Descartes, Cervantes, Pascal, Hobbes and the Don Juan myth.
My dissertation illuminates the status of mathematical knowledge in relation to other intellectual domains and racialized social forms-particularly American Orientalism-in the twentieth-century United States. Observers and practitioners have long engaged in drawing relations between mathematics and the arts. Around the turn of the twentieth century, however, when mathematicians reconceived mathematics around notions of abstraction, formalism, and "made" theories bearing no necessary relationship to the empirical world, understandings of the relationship of mathematics to the arts changed. Historians of mathematics, mathematicians, and historians of art have since referred to these twentieth-century intellectual changes as a "modernist" transformation. They refer to mathematical modernism in terms of metaphors that reflect shared values of being autonomous, creative, and a form of self-expression. My dissertation recovers an alternative history that upends the assumption that mathematical modernism developed within pre-existing boundaries of its discipline. It tracks a series of collective efforts between mathematicians, artists, critics, and historians, to use and articulate a place for formally abstract and axiomatically derived mathematical techniques within humanistic and artistic inquiries. Drawing from archival and published sources across four main chapters, I trace four specific efforts that reflect changes and transformations in American higher education and academic institutions between the 1890s and the present. Chapter one chronicles mathematicians', historians', and art collectors' interpretations of Japanese and Chinese mathematical traditions between the 1890s and 1920s. It shows how their conclusions that the resulting "oriental mathematics" was universal but inferior to the current practices were informed by a racialized discourse, treating Japanese and Chinese math as symbols of exotic difference. Chapter two recounts and describes the production of a mathematical theory of aesthetic measure at Harvard University in the 1930s. It shows how the theory was part of a broader artistic movement to articulate a theory of pure design. Chapter three examines the valuation and nature of mathematics within the liberal arts setting at Black Mountain College in the 1940s and 50s. It recovers how rather than being essential to high art, mathematics was also critical to the resurgence of craft. The final chapter elucidates the contradictions in valuing mathematics as abstract, creative, and autonomous, by examining a copyright dispute between a mathematical origami designer and a conceptual artist in the 2000s. The resulting view of US mathematical modernism as embedded within broader intellectual domains illuminates a more nuanced view of changes in what has or has not counted as a mathematical subject.
In Modernism and Subjectivity: How Modernist Fiction Invented the Postmodern Subject, Adam Meehan argues that theories of subjectivity coming out of psychoanalytic, poststructuralist, and adjacent late-twentieth-century intellectual traditions had already been articulated in modernist fiction before 1945. Offering a bold new genealogy for literary modernism, Meehan finds versions of a postmodern subject embodied in works by authors who intently undermine attempts to stabilize conceptions of identity and who draw attention to the role of language in shaping conceptions of the self. Focusing on the philosophical registers of literary texts, Meehan traces the development of modernist attitudes toward subjectivity, particularly in relation to issues of ideology, spatiality, and violence. His analysis explores a selection of works published between 1904 and 1941, beginning with Joseph Conrad’s prescient portrait of the subject interpolated by ideology and culminating with Samuel Beckett’s categorical disavowal of the subjective “I.” Additional close readings of novels by F. Scott Fitzgerald, Aldous Huxley, James Joyce, Nathanael West, and Virginia Woolf establish that modernist texts conceptualize subjectivity as an ideological and linguistic construction that reverberates across understandings of consciousness, race, place, and identity. By reconsidering the movement’s function and scope, Modernism and Subjectivity charts how profoundly modernist literature shaped the intellectual climate of the twentieth century.
An argument that Modernism is a cognitive phenomenon rather than a cultural one. At the beginning of the twentieth century, poetry, music, and painting all underwent a sea change. Poetry abandoned rhyme and meter; music ceased to be tonally centered; and painting no longer aimed at faithful representation. These artistic developments have been attributed to cultural factors ranging from the Industrial Revolution and the technical innovation of photography to Freudian psychoanalysis. In this book, Samuel Jay Keyser argues that the stylistic innovations of Western modernism reflect not a cultural shift but a cognitive one. Behind modernism is the same cognitive phenomenon that led to the scientific revolution of the seventeenth century: the brain coming up against its natural limitations. Keyser argues that the transformation in poetry, music, and painting (the so-called sister arts) is the result of the abandonment of a natural aesthetic based on a set of rules shared between artist and audience, and that this is virtually the same cognitive shift that occurred when scientists abandoned the mechanical philosophy of the Galilean revolution. The cultural explanations for Modernism may still be relevant, but they are epiphenomenal rather than causal. Artists felt that traditional forms of art had been exhausted, and they began to resort to private formats—Easter eggs with hidden and often inaccessible meaning. Keyser proposes that when artists discarded their natural rule-governed aesthetic, it marked a cognitive shift; general intelligence took over from hardwired proclivity. Artists used a different part of the brain to create, and audiences were forced to play catch up.
The term "modernism" is central to any discussion of twentieth-century literature and critical theory. Astradur Eysteinsson here maintains that the concept of modernism does not emerge directly from the literature it subsumes, but is in fact a product of critical practices relating to nontraditional literature. Intervening in these practices, and correlating them with modernist works and with modern literary theory, Eysteinsson undertakes a comprehensive reexamination of the idea of modernism. Eysteinsson critically explores various manifestations of modernism in a rich array of American, British, and European literature, criticism, and theory. He first examines many modernist paradigms, detecting in them a conflict between modernism's culturally subversive potential and its relatively conservative status as a formalist project. He then considers these paradigms as interpretations-and fabrications-of literary history. Seen in this light, modernism both signals a historical change on the literary scene and implies the context of that change. Laden with the implications of tradition and modernity, modernism fills its major function: that of highlighting and defining the complex relations between history and postrealist literature. Eysteinsson focuses on the ways in which the concept of modernism directs our understanding of literature and literary history and influences our judgment of experimental and postrealist works in literature and art. He discusses in detail the relation of modernism to the key concepts postmodernism, the avant-garde, and realism. Enacting a crisis of subject and reference, modernism is not so much a form of discourse, he asserts, as its interruption-a possible "other" modernity that reveals critical aspects of our social and linguistic experience in Western culture. Comparatists, literary theorists, cultural historians, and others interested in twentieth-century literature and art will profit from this provocative book.
Plato's Ghost is the first book to examine the development of mathematics from 1880 to 1920 as a modernist transformation similar to those in art, literature, and music. Jeremy Gray traces the growth of mathematical modernism from its roots in problem solving and theory to its interactions with physics, philosophy, theology, psychology, and ideas about real and artificial languages. He shows how mathematics was popularized, and explains how mathematical modernism not only gave expression to the work of mathematicians and the professional image they sought to create for themselves, but how modernism also introduced deeper and ultimately unanswerable questions. Plato's Ghost evokes Yeats's lament that any claim to worldly perfection inevitably is proven wrong by the philosopher's ghost; Gray demonstrates how modernist mathematicians believed they had advanced further than anyone before them, only to make more profound mistakes. He tells for the first time the story of these ambitious and brilliant mathematicians, including Richard Dedekind, Henri Lebesgue, Henri Poincaré, and many others. He describes the lively debates surrounding novel objects, definitions, and proofs in mathematics arising from the use of naïve set theory and the revived axiomatic method—debates that spilled over into contemporary arguments in philosophy and the sciences and drove an upsurge of popular writing on mathematics. And he looks at mathematics after World War I, including the foundational crisis and mathematical Platonism. Plato's Ghost is essential reading for mathematicians and historians, and will appeal to anyone interested in the development of modern mathematics.
A compact introduction to modernism--why it began, what it is, and how it hasshaped virtually all aspects of 20th and 21st century life
Rejecting the typical view of formalism's exclusive engagement with essentialized and purified notions of abstraction and its disengagement from issues of gender and embodiment, Brennan explores the ways in which these categories were intertwined. Historically and theoretically."--Jacket.
Transnational in scope, this much-needed volume explores how modernist writers and artists address and critique the dramatic changes to food systems that took place in the early twentieth century. During this period, small farms were being replaced with industrial agriculture, political upheavals exacerbated food scarcity in many countries, and globalization opened up new modes of distributing culinary commodities. Looking at a unique variety of art forms by authors, painters, filmmakers, and chefs from Ireland, Italy, France, the United States, India, the former Soviet Union, and New Zealand, contributors draw attention to modernist representations of food, from production to distribution and consumption. They consider Oscar Wilde’s aestheticization of food, Katherine Mansfield’s use of eggs as a feminist symbol, Langston Hughes’s use of chocolate as a redemptive metaphor for blackness, hospitality in William Faulkner’s Sanctuary, Ernest Hemingway’s struggles with gender and sexuality as expressed through food and culinary objects, Futurist cuisine, avant-garde cookbooks, and the impact of national famines on the work of James Joyce, Viktor Shklovsky, and Tarashankar Bandyopadhyay. Less celebrated topics of putrefaction and waste are analyzed in discussions of food as both a technology of control and a tool for resistance. The diverse themes and methodologies assembled here underscore the importance of food studies not only for the literary and visual arts but also for social transformation. The cultural work around food, the editors argue, determines what is produced, who has access to it, and what can or will change. A milestone volume, this collection uncovers new links between seemingly disparate spaces, cultures, and artistic media and demystifies the connection between modernist aesthetics and the emerging food cultures of a globalizing world. Contributors: Giles Whiteley | Aimee Gasston | Randall Wilhelm | Bradford Taylor | Sean Mark | Céline Mansanti | Shannon Finck
Robin Walz’s updated Modernism, now part of the Seminar Studies series, has been updated to include significant primary source material and features to make it more accessible for students returning to, or studying the topic for the first time. The twentieth century was a period of seismic change on a global scale, witnessing two world wars, the rise and fall of communism, the establishment of a global economy, the beginnings of global warming and a complete reversal in the status of women in large parts of the world. The modernist movements of the early twentieth century launched a cultural revolution without which the multi-media-driven world in which we live today would not have been possible. Today modernism is enshrined in art galleries and university courses. Its techniques of abstraction and montage, and its creative impulse to innovate and shock, are the stock-in-trade of commercial advertising, feature films, television and computer-generated graphics. In this concise cultural history, Robin Walz vividly recaptures what was revolutionary about modernism. He shows how an aesthetic concept, arising from a diversity of cultural movements, from Cubism and Bauhaus to Abstract Expressionism and Pop Art, and operating in different ways across the fields of art, literature, music, design and architecture, came to turn intellectual and cultural life and assumptions upside down, first in Europe and then around the world. From the nineteenth century origins of modernism to its postmodern legacies, this book will give the reader access to the big picture of modernism as a dynamic historical process and an unfinished project which still speaks to our times.