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The Primitivist Critique of Modernity: Carl Einstein and Walter Benjamin1
The Primitivist Critique of Modernity: Carl Einstein and Walter Benjamin1 David Pan In the “Sirens” episode in Homer’s Odyssey, Odysseus, relying on nothing more than the wax in his sailors’ ears and the rope binding him to the mast of his ship, was able to hear the sirens’ song without being drawn to his death like all the sailors before him.2 Franz Kafka, finally giving the sirens their due, points out that their song could certainly pierce wax and would lead a man to burst all bonds. Instead of attributing Odysseus’ sur- vival to his cunning use of technical means, which he calls “childish mea- sures,”3 Kafka attributes it to the sirens’ use of an even more horrible weapon than their song: their silence. Believing his trick had worked, Odysseus did not hear their silence, but imagined he heard the sound of their singing, for no one could resist “the feeling of having triumphed over them by one’s own strength, and the consequent exaltation that bears down everything before it.”4 The sirens disappeared from Odysseus’per- ceptions, which were focused entirely on himself. Kafka concludes: “If the sirens had possessed consciousness, they would have been annihilated at that moment. But they remained as they had been; all that had hap- pened was that Odysseus had escaped them.”5 Max Horkheimer and Theodor Adorno have argued that this ancient 1. From Primitive Renaissance: Rethinking German Expressionism by David Pan. Copyright 2001 by the University of Nebraska Press. 2. Homer, Odyssey, Book 12, pp.166-200. 3. -
Postmodernism in Parallax Author(S): Hal Foster Reviewed Work(S): Source: October, Vol
Postmodernism in Parallax Author(s): Hal Foster Reviewed work(s): Source: October, Vol. 63 (Winter, 1993), pp. 3-20 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/778862 . Accessed: 08/10/2012 21:45 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October. http://www.jstor.org Postmodernismin Parallax* HAL FOSTER Whatever happened to postmodernism?The darling of journalism, it has become the Baby Jane of criticism.Not so long ago the opposite was the case; prominenttheorists on the leftsaw grand thingsin the term.For Jean-Frangois Lyotard postmodernismmarked an end to the masternarratives that had long made modernityseem synonymouswith progress (the march of reason, the accumulation of wealth,the advance of technology,the emancipation of work- ers, and so on), while for FredricJameson postmodernisminvited a new nar- rative,or rather a renewed Marxian critique that mightrelate differentstages of modern culture to differentmodes of capitalistproduction. For me as for many others,postmodernism -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Metamodernism, Or Exploring the Afterlife of Postmodernism
“We’re Lost Without Connection”: Metamodernism, or Exploring the Afterlife of Postmodernism MA Thesis Faculty of Humanities Media Studies MA Comparative Literature and Literary Theory Giada Camerra S2103540 Media Studies: Comparative Literature and Literary Theory Leiden, 14-06-2020 Supervisor: Dr. M.J.A. Kasten Second reader: Dr.Y. Horsman Master thesis submitted in accordance with the regulations of Leiden University 2 Table of Contents Acknowledgments ................................................................................................................................. 3 Introduction ........................................................................................................................................... 4 CHAPTER 1: Discussing postmodernism ........................................................................................ 10 1.1 Postmodernism: theories, receptions and the crisis of representation ......................................... 10 1.2 Postmodernism: introduction to the crisis of representation ....................................................... 12 1.3 Postmodern aesthetics ................................................................................................................. 14 1.3.1 Sociocultural and economical premise ................................................................................. 14 1.3.2 Time, space and meaning ..................................................................................................... 15 1.3.3 Pastiche, parody and nostalgia ............................................................................................ -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Modernity, Modernism, and Fascism. a "Mazeway Resynthesis"
0RGHUQLW\PRGHUQLVPDQGIDVFLVP$PD]HZD\UHV\QWKHVLV 5RJHU*ULIILQ Modernism/modernity, Volume 15, Number 1, January 2008, pp. 9-24 (Article) 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/mod.2008.0011 For additional information about this article http://muse.jhu.edu/journals/mod/summary/v015/15.1griffin.html Access provided by Universitätsbibliothek Bern (1 Mar 2015 12:52 GMT) GRIFFIN / modernity, modernism, and fascism 9 Modernity, modernism, and fascism. A “mazeway resynthesis”1 Roger Griffin MODERNISM / modernity VOLUME FIFTEEN, NUMBER Fascism and modernism: finding the “big picture” ONE, PP 9–24. Researchers combing through back numbers of this journal © 2008 THE JOHNS HOPKINS in search of authoritative guidance to the relationship between UNIVERSITY PRESS modernity, modernism, and fascism could be forgiven for occa- sionally losing their bearings. In one of the earliest issues they will alight upon Emilio Gentile’s article tracing the paternity of early Fascism to the campaign for a “modernist national- ism” which was launched in the 1900s by Italian avant-garde artists and intellectuals fanatical about providing the catalyst to a national program of radical modernization.2 They will also come across the eloquent case made by Peter Fritzsche for the thesis that there was a distinctive “Nazi modern,” that the Third Roger Griffin is Reich embodied an extreme, uncompromising form of politi- Professor in Modern History at Oxford cal modernism, a ruthless bid to realize an alternative vision of Brookes University modernity whatever the human cost.3 But closer to the present (UK), and author of they will encounter Lutz Koepnik’s sustained argument that over 70 publications on the aesthetics of fascism reflected its aspiration “to subsume generic fascism, notably everything under the logic of a modern culture industry, hop- The Nature of Fascism ing to crush the emancipatory substance of modern life through (Pinter, 1991). -
Pushkin and the Futurists
1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed. -
An Attempt to Answer Certain Critics of Theory of the Avant-Garde
Avant-Garde and Neo-Avant-Garde: An Attempt to Answer Certain Critics of Theory of the Avant-Garde Peter Bürger* Definitions hat is an avant-garde?” I understand this question as a provocation. The strategy is not a bad one, because some- “Wtimes a provocation can bring about a surprising clarity, if it causes the addressee to lay his cards on the table. Usually though, this does not happen, and for good reason. Lacan was adamantly opposed to speaking “le vrai du vrai,” arguing that the naked truth was always disappointing. In his Logic, Hegel ridiculed the arbitrariness of defini- tions that are supposed to pin down a concept to specific properties: even though no other animal has an earlobe, it is not an adequate way of defining human beings. And Nietzsche puts it concisely: “Only that which has no history can be defined.” If such different thinkers as Hegel, Nietzsche, and Lacan—I could have also mentioned Adorno and Blumenberg—oppose definitions, then we should listen to them. In fact, it is a practice that runs the risk of depriving the concept of what keeps it alive: the contradictions that it unites within itself. Hegel’s short text Who Thinks Abstractly? makes this clear. A murderer is being taken to his place of execution. For the bourgeois, who subjugates the world via definitions and calculations, he is nothing but a murderer; he is, in other words, identical with his act. For the old nurse, however, who, catching sight of the head of the executed man, cries out, “Oh how beautifully the merciful sun of God shines on Binder’s head,” he is a concrete individual, who has committed a crime, received his deserved punishment for it, and is now partaking of God’s grace.1 To be sure, dispensing with definitions causes problems. -
LEISURE PLACES and MODERNITY the Use and Meaning of Recreational Cottages in Norway and the USA
LEISURE PLACES AND MODERNITY The use and meaning of recreational cottages in Norway and the USA Daniel R. Williams and Bjom P Kaltenborn Williams, D. R., & Kaltellbom, B. P. (1999). Leisure places and modernity: The use and meaning of recreational cottages in Norway and the USA. In D. Crouch (Ed.), Leisure practices and geographic Itnowledge (pp. 214-230). London: Routledge. Introduction When we think of tourism we often dunk of travel to exotic destinations, but modernization has also dispersed and extended our network of relatives, friends, and acquaintances. Fewer people live out their lives in a single place or even a single region of their natal country. Modern forms of dwelling, working, and playing involve circulating through a geographically extended network of social relations and a multiplicity of widely dispersed places and regions. Much of the "postmodern" discourse on tourism leaves the impression that tourists seek out only the exotic, authentic "other" and experience every destination through a detached "gaze" that rarely engages the "real" (i.e., uncommodified) aspects of the place (MacCanneU. 1992, Selwyn 1996, Urry 1990). Contrary to images of "gazing" tourists on a pilgrimage for the authentic, much of modern tourism is rather ordinary and involves complex patterns of social and spatial interaction that cannot be neatly reduced to a shallow detached relation. Leisure/tourism is often less packaged, commodified, and colonial than contemporary academic renderings seem to permit. One widespread, but largely unexamined form of leisure travel involves the seemingly enigmatic practice of establishing and maintaining a second home (what we will generally refer to as cottaginl). -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008). -
Hal Foster: Curriculum Vitae
HAL FOSTER: CURRICULUM VITAE Townsend Martin Class of 1917 Professor, Art & Archaeology, Princeton University Born: Seattle, August 13, 1955 Reside: 150 Fitzrandolph Road, Princeton, NJ 08540 Telephone: 609.924.6917 Married. EDUCATION: 1990 Ph.D., Art History, City University of New York 1979 M.A., English Literature, Columbia 1977 A.B., English Literature & Art History, Princeton ACADEMIC POSITIONS: 2000- Townsend Martin 1917 Professor of Art & Archaeology, Princeton 2011- Professor, School of Architecture, Princeton 2007- Associate Faculty, Department of German, Princeton 1997- Professor, Art and Archaeology, Princeton 1996 Visiting Professor, Art History, UC Berkeley 1994-96 Professor, Art History & Comparative Literature, Cornell 1991-93 Associate Professor, Art History & Comparative Literature, Cornell 1987-91 Director of Critical & Curatorial Studies, Independent Study Program, Whitney Museum PUBLICATIONS I (Books, in English only): 1. JUNK SPACE with RUNNING ROOM (coauthored with Rem Koolhaas), Notting Hill Editions, 2012 2. THE FIRST POP AGE: PAINTING AND SUBJECTIVITY IN THE ART OF HAMILTON, LICHTENSTEIN, WARHOL, RICHTER, AND RUSCHA, Princeton University Press, 2012 3. THE ART-ARCHITECTURE COMPLEX, Verso Press, 2011 4. THE HARDEST KIND OF ARCHETYPE: REFLECTIONS ON ROY LICHTENSTEIN, National Galleries of Scotland, 2011 5. POP ART, Phaidon Press, 2005 6. ART SINCE 1900: MODERNISM, ANTI-MODERNISM, POSTMODERNISM (coauthored with Krauss, Bois, Buchloh), Thames & Hudson Press, 2004 7. PROSTHETIC GODS, MIT Press, 2004 8. DESIGN AND CRIME (AND OTHER DIATRIBES), Verso Press, 2002 9. RICHARD SERRA (ed.), MIT Press, 2000 10. THE RETURN OF THE REAL, MIT Press, 1996 11. COMPULSIVE BEAUTY, MIT Press, 1993 12. RECODINGS: ART, SPECTACLE, CULTURAL POLITICS, Bay Press, 1985 13. VISION AND VISUALITY (ed.), Bay Press, 1988 1 14.