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The Modernist movement has been regarded as representing a crisis point in Western thought. This volume looks at that crisis in terms of its reinterpretation of ideas concerning vitalism: the animation of the universe, whether spiritual or based in physical energies, of the universe. Beginning with vitalism's historical background in the enlightenment and the nineteenth century, and moving through scientific, philosophical and literary disciplines, the contributors chart the progress of vitalism and its influence on modernist thought. The focal point is the work of Henri Bergson, whose part in this powerful reinterpretation had a considerable bearing on European and American intellectual life, and yet led to a vehement rejection of his work. A previously untranslated and little-known essay by Bakhtin will be of special interest in this stimulating collection, which includes original contributions from leading scholars in literature, the history of science, biology and philosophy, and comprises a wide-ranging reassessment of 'the perpetual crises of modernity'.
"Gives a superb critical and polemical overview of the '70s film theory. Rodowick is particularly good at showing both the political stakes of these influential theories and their blind spots."—Constance Penley, University of California, Santa Barbara
"The contentious relationship between modernism and realism has powerfully influenced literary history throughout the twentieth century and into the present. In 1930s Korea, at a formative moment in these debates, a “crisis of representation” stemming from the loss of faith in language as a vehicle of meaningful reference to the world became a central concern of literary modernists as they operated under Japanese colonial rule. Christopher P. Hanscom examines the critical and literary production of three prose authors central to 1930s literary circles—Pak T’aewon, Kim Yujong, and Yi T’aejun—whose works confront this crisis by critiquing the concept of transparent or “empiricist” language that formed the basis for both a nationalist literary movement and the legitimizing discourse of assimilatory colonization. Bridging literary and colonial studies, this re-reading of modernist fiction within the imperial context illuminates links between literary practice and colonial discourse and questions anew the relationship between aesthetics and politics. The Real Modern challenges Eurocentric and nativist perspectives on the derivative particularity of non-Western literatures, opens global modernist studies to the similarities and differences of the colonial Korean case, and argues for decolonization of the ways in which non-Western literatures are read in both local and global contexts."
In his native Italy Augusto Del Noce is regarded as one of the preeminent political thinkers and philosophers of the period after the Second World War. The Crisis of Modernity makes available for the first time in English a selection of Del Noce's essays and lectures on the cultural history of the twentieth century. Del Noce maintained that twentieth-century history must be understood specifically as a philosophical history, because Western culture was profoundly affected by the major philosophies of the previous century such as idealism, Marxism, and positivism. Such philosophies became the secular, neo-gnostic surrogate of Christianity for the European educated classes after the French Revolution, and the next century put them to the practical test, bringing to light their ultimate and necessary consequences. One of the first thinkers to recognize the failure of Marxism, Del Noce posited that this failure set the stage for a new secular, technocratic society that had taken up Marx’s historical materialism and atheism while rejecting his revolutionary doctrine. Displaying Del Noce's rare ability to reconstruct intellectual genealogies and to expose the deep metaphysical premises of social and political movements, The Crisis of Modernity presents an original reading of secularization, scientism, the sexual revolution, and the history of modern Western culture.
Publisher description
In this book, the author addresses the relationship between art and society, from the emergence of bourgeois culture in the eighteenth century to the decline of modernism in the twentieth century.
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.
Assaults on the dignity and the rights of the human person have been central to the ongoing crisis of the modern era in the last hundred years. This book takes a searching look at the roots of this problem and the various approaches to it by the eight men who led the Catholic Church in the twentieth century, from Pope St. Pius X and his crusade against Modernism to Pope St. John Paul II and his appeal for a renewed rapprochement between faith and reason. Thus it offers a distinctive, illuminating interpretation of recent world events viewed through the lens of an ancient institution, the papacy. The fascinating story is told by a veteran observer of Church affairs through short profiles of the eight popes, which include crucial, often little-known facts. The book includes substantial excerpts from the writings of the popes that give important insights into their personalities and thinking. It also includes a useful overview of the Second Vatican Council (1962–1965) and its pivotal role in reshaping the Catholic Church. Serious and open-minded readers, Catholics and non-Catholics alike, as well as students of Church history will find this unique work an informative, timely, and inspiring guide to understanding many central events and issues of our times.
Tyrus Miller breaks new ground in this study of early twentieth-century literary and artistic culture. Whereas modernism studies have generally concentrated on the vital early phases of the modernist revolt, Miller focuses on the turbulent later years of the 1920s and 1930s, tracking the dissolution of modernism in the interwar years. In the post-World War I reconstruction and the worldwide crisis that followed, Miller argues, new technological media and the social forces of mass politics opened fault lines in individual and collective experience, undermining the cultural bases of the modernist movement. He shows how late modernists attempted to discover ways of occupying this new and often dangerous cultural space. In doing so they laid bare the ruin of the modernist aesthetic at the same time as they transcended its limits. In his wide-ranging theoretical and historical discussion, Miller relates developments in literary culture to tendencies in the visual arts, cultural and political criticism, mass culture, and social history. He excavates Wyndham Lewis's hidden borrowings from Al Jolson's The Jazz Singer; situates Djuna Barnes between the imagery of haute couture and the intellectualism of Duchamp; uncovers Beckett's affinities with Giacometti's surrealist sculptures and the Bolshevik clowns Bim-Bom; and considers Mina Loy as both visionary writer and designer of decorative lampshades. Miller's lively and engaging readings of culture in this turbulent period reveal its surprising anticipation of our own postmodernity.
Ancient history, midcentury modernism, Cinemascope, humanism and monumentality, totalitarianism and democracy: transformations in American culture and architecture. In Flintstone Modernism, Jeffrey Lieber investigates transformations in postwar American architecture and culture. He considers sword-and-sandal films of the 1950s and 1960s—including forgotten gems such as Land of the Pharaohs, Helen of Troy, and The Egyptian—and their protean, ideologically charged representations of totalitarianism and democracy. He connects Cinemascope and other widescreen technologies to the architectural “glass curtain wall,” arguing that both represented the all-encompassing eye of American Enterprise. Lieber reminds us that until recently midcentury modern American architecture was reviled by architectural historians but celebrated by design enthusiasts, just as sword-and-sandal epics are alternately hailed as cult classics or derided as camp. Lieber's argument is absorbing, exuberant, and comprehensive. Following Hannah Arendt, who looked for analogies in the classical past in order to understand midcentury's cultural crisis, Lieber terms the postwar reckoning of ancient civilizations and modern ideals “Flintstone modernism.” In new assessments of the major architects of the period, Lieber uncovers the cultural and political fantasies that animated or impinged on their work, offering surprising insights into Gordon Bunshaft's commonsense classicism; Eero Saarinen's architectural narratives of ersatz empire and Marcel Breuer's mania for Egyptian monoliths; and Edward Durell Stone's romantic “flights of fancy” and Philip Johnson's wicked brand of cynical cultural and sociopolitical critique. Deftly moving among architecture, film, philosophy, and politics, Lieber illuminates the artifice that resulted from the conjunction of high style and mass-cultural values in postwar America.